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This Edition is limited to five hundred copies, 
of which fifty are to be sold exclusively in 
England 

This copy is No.^IlA 



A CYCLOP/EDIA OF WORKS OF 

ARCHITECTURE 

IN 

ITALY, GREECE, AND THE LEVANT 



A 

CYCLOPEDIA OF WORKS OF 

ARCHITECTURE 

IN 

ITALY, GREECE, AND THE LEVANT 



EDITED BY 

WILLIAM P.^'-P/IONGFELLOW 

HONOKAKY MHMBEK AND LATE FELLOW OF THE AMERICAN INSTITUTE OF ARCHITECTS 



NEW YORK 

CHARLES SCRIBNER'S SONS 
M DCCC XCV 






^"^ 



\9 
V 



Copyright, iSg^, by 
Charles Scribner's Sons 



PREFACE 



THE purpose of this volume is to give a conspectus of tlie archi- 
tecture of Italy, Greece, and the Levant, arranged for easy ref- 
erence, which shall be sufficient for the general reader or the 
traveller, and at the same time furnish the student of architecture a 
fairly adequate account of the important monuments and give him finger- 
posts for guidance in further iuvestigation. It was at first proposed to 
record the historical and literary associations of the buildings; but it 
was found that this must swell the book beyond reason, or else exclude 
the fulness of description which the architectural student had a right 
to expect ; tlie historical accounts are therefore limited to a statement 
of tlie most important facts. 

The selection of examples has been a difficult work, and often a 
doubtful one. Italy is pre-eminently the land of architecture; her medi- 
aeval churches and palaces count by thousands, and her later buildings of 
importance are much more numerous ; Greece and Asia Minor and Syriia 
are strewn with the remains of classic architecture. Near the line of 
exclusion the choice often lay between buildings of practically equal im- 
portance, among which sometimes the chief determining influence was the 
necessity of deciding. Architectural interest first and historical second 
were the obvious tests, and so, while some large and conspicuous build- 
ings are omitted, many less conspicuous are included on account of some 
quality of form or importance in the line of evolution, or occasionally for 
some historical association that makes them objects of common inquiry. 
The same reason led at times to what Avill be considered disproportion in 
fulness of treatment ; but this is as often conditioned by the accessible 



PREFACE 

information, which is singularly unequal. Antiquity also gives not only 
interest, but exemplary value ; and so, while the classical part of the book 
is fullest, the fulness naturally diminishes with the increasing centu- 
ries; as a rule the buildings of the nineteenth century are excluded. 
It is hardly to be expected that any one searching examiner will absolutely 
approve the selection made by another person, but it is hoped that the 
book may be estimated rather by the value of what it contains than by 
the desirability of what it omits. 

Historical controversies are obviously out of place in such a book, and 
there has been no attempt to decide them. Whoever has studied archi- 
tectural history knows the unevenness and uncertainty of the authorities ; 
and the assumption of minute accuracy in points where such accuracy is 
not attainable has been avoided. The reader may be surprised at an ap- 
pearance of looseness in the statement of dates and oftener of measures. 
This is from a set j^urjDose to put him on his guard against a delusive 
precision. It is safe to say that no one knows the precise measures of 
many of the buildings that are given in the books, though they be stated 
with great minuteness ; nor is this important for general purposes, pro- 
vided they are true in the rough. In classic buildings, which are studies 
of minute proportion, archaeologists have made a great effort at exactness, 
and the measures are given with corresponding minuteness ; but in later 
architecture the reader should wittingly share the uncertainty in which 
the investigator is left. There is the same difficulty with dates. Often 
a building can be referred only to a particular reign or lifetime ; often it is 
not clear to what part of it a recorded date refers. Frequent aliases and 
changes of name in both men and buildings are a further obstacle to in- 
vestigation. Moreover, buildings, especially those which are in use, are 
subject to removal and alteration. A good deal of pains has been taken, 
Tip to the last moment, to revise the descriptions by personal examina- 
tion ; but this has not always been possible, and renewal is continual : 
doubtless, then, in particular cases, restoration or decay has changed de- 
tails which are here recorded. It can only be hoped that the pains 
which has been taken has made the book on the whole trustworthy and 
adequate. 



PREFACE 

The question of orthography is another difficulty, especially in class- 
ical names. The systems of transliteration that have been lately devised 
by classical students are so inchoate and so far from consistent in them- 
selves, that a reaction against them seems to be already setting in. For 
the necessary choice among rival inconsistencies that one which is sim- 
plest and most familiar has been preferred, and when a Latin form has 
gauied currency in English it has been chosen, rather than the transliter- 
ated Greek. With modern names the case is different. Italian names at 
least are now reasonably familiar to educated people, and it is only for 
such inveterate misnomers as Florence and Leghorn, or such familiar 
names as St. Peter's, that the English form is used; it has been thought 
best, however, to giv^e in the titles not only the real names of towns, but 
the transcriptions and corruptions of them that are most current in for- 
eign languages. 

Much care has been giv^en to the illustrations : they are as full as 
they could well be without taking too much space from the text. The 
editor has tried to show familiar monuments in new aspects as far as was 
practical)k'. Some well-known subjects have been omitted in favor of 
others which it is less easy for the reader to find elsewhere, and many 
less conspicuous monuments are presented for the sake of some artistic 
interest or of their significance in the serpieiice of architectural forms. 
The illustrations have been made directly from photographs when this 
could be done, or have been drawn for use liere : very few are repro- 
ductions of other illustrations, and for these credit is given. In two im- 
portant instances special effort has been made to show what has hereto- 
fore been neglected : — ^the drawing of the rear of St. Peter's, carefully 
constructed from ])hotographs and measured plans, gives the church as it 
\vould appear if the houses that crowd about its lower parts were pulled 
away, and shows it therefore as Michael Angelo intended it to appear, 
but as it is never seen. Tlie photogravure of the interior of Sta. Sofia 
\vas prepared because the composite photographs that are in cir- 
culation show tliis nol)le interior with broken lines and distorted propor- 
tion, and the only published drawings wliich give an adequate impression 
of it, those of Fossati, are unsuited for reproduction. 



PREFACE 

The classical part of the book is the work of Mr. Thomas W. 
Ludlow, whose death before its j)ub]ication not only is a great personal 
loss to his associates, but has deprived it of the last revision which he 
had hoped to give while it passed through the press. The editor's 
office has not gone beyond such modifications of form as were necessary 
to adapt it to the limitations of the book, and the occasional correction 
of an obvious clerical error : he trusts that Mr. Ludlo^v's scholarship and 
industry have made other alteration superfluous. The bibliography of 
this part, which Mr. Ludlow had not an opportunity to arrange, has 
been provided by Professor Harold N. Fowler. The greater number of 
the articles on the mediaeval and later architecture of Italy was furnished 
by Mr. Charles A. Cumraings, to whose co-operation a great part of the 
value of the book will be due. Some special articles, particularly on the 
Gothic and Romanesque churches of middle Italy, are contributed by 
Pi'ofessor A. L. Frothingham, Jr., and are distinguished by his initials, 
being the unpublished record of his personal study of the monuments 
themselves. 

W. P. P. L. 



LIST OF ILLUSTRATIONS 



FULL-PAGE PHOTOGRAVURES 



CONSTANTINOPLE— INTERIOR OF STA. SOFIA Frontispiece 
From a drawing by the Editor 



To Face 
Faze 



ATHENS— THE ACROPOLIS 48 



ATHENS-CHORAGIC MONUMENT OF LYSICRATES . 96 



BAALBEK— TEMPLE OF JUPITER, NORTH FRONT . 144 



CONSTANTINOPLE— MOSQUE OF SULEIMAN . . 192 



FLORENCE— CATHEDRAL AND CAMPANILE . . 240 



To Face 
Paze 



MILAN— PIAZZA DEI MERCANTI 288 



MURANO— S. DONATO 336 



PISA— GENERAL VIEW 384 



PISTOIA— CATHEDRAL SQUARE . • • . .432 



SIENA— INTERIOR OF THE CATHEDRAL . . .480 



VENICE— S. MARCO, CENTRAL PORTAL . . . ^12 



ILLUSTRATIONS IN THE TEXT 



FIGURE PAGE 

1. Abbiategrasso, Church, after 

Miintz 1 

2. Adrianople, Great Mosque 3 

3. Albe, S. Pietro 

4. Ahnenno, S. Tommaso in Li- 

mine, after Dartein 8 

5. Altamura, Oiitliedi-al. matroneo. 9 

6. Altamura, Catliedral, porch. .. . 9 

7. Amalfi, Cathedral 10 

8. Ancona, Trajan's Arch. ...... 11 

9. Ancona, Cathedral, plan ...... 12 

10. Ancona, Cathedral 13 

11. Aosta, Arch of Augustus 14 

12. Aquila, S. M. di Collemaggio. . . 16 

13. Aquileja, Catliedral, interior, af- 

ter Jackson 17 

14. Arezzo, S. M. della Pieve and 

Fraternita 18 

15. Aspendos, Theatre, from 1) arm. 22 

16. Assisi, 8. Francesco, section... 23 

17. Assisi, S. Francesco, lower 

churcli, interior 24 

18. Assisi, S. M. degli Augeli, plan. 

after Laspeyres 25 

19. Assos. Temple, after J. T. 

Clarke 27 

20. Athens. Acropolis, plan 29 

21. Athens, Acropolis 30 

22. Athens, St. Theodore 31 

23. Athens, Erechtheum 32 

24. Athens, Ilorologium of Androni- 

cus, or Tower of the "Winds . 34 

25. Athens, Parthenon 38 



FIGURE PAGE 

26. Athens, Temple of Nike Apteros. 42 

27. Athens, Theatre of Dion^^sos, 

front of stage 44 

28. Athens, Theseum 45 

29. Baalbek. Roman ruins, \ithm. ... 46 

30. Bari, S. Niccolo 51 

31. Barletta, S. M. Maggiore 52 

32. Benevento, Trajan's Arch 54 

33. Bethlehem, Church of the Na- 

tivity, plan 56 

34. Bitetto, Cathedral 57 

35. Bitonto, Cathedral, pulpit 58 

36. Bologna, Madonna di S. Luca.. 60 

37. Bologna, Madonna di S. Luca, 

plan, after Gurlitt 60 

38. Bologna, La Mercanzia 61 

39. Bologna, Palazzo Bevilacqua ... 62 

40. Bologna, Palazzo Fava, court . . 62 

41. Bologna, S. Petronio 63 

42. Bologna, S. ISepolcro 64 

43. Bologna, S. Stefano, plan 65 

44. Caprarola, Castle, plan 72 

45. Casamari, Convent Church .... 74 

46. Caserta Nuova, Eoyal Palace, 

stairway 75 

47. Chiaravalle,^ Abbey Church .... 80 

48. Cividale di Friuli, S. M. in 

Valle, interior 82 

49. C ivita-Castellana, Cathedral, 

porch 83 

50. Como, Broletto 84 

51. Como, S. Fedele, apse, after Dar- 

tein 87 



ILLUSTRATIONS IN THE TEXT 



FIGURE 

52. Constantinople, Mosque of Ah- 

med 

53. Constantinople, St. Irene 

54. Constantinople, Sta. Sofia 

55. Constantinople, Sta. Sofia, plan, 

after Fossati 

5G. Corneto, S. M. in Castello, inte- 
rior 

57. Crema, S. M. della Croce 

58. Cremona, Cathedral, porch, from 



59 



Eitelberger 



60 
61 



Cremona, Palace of the Juris- 
consults 

Damascus, Great Mosque 

Daphne, Convent Church 

62. Famagusta, Cathedral 

63. Ferrara, Castello Vecchio 

64. Ferrara, Cathedral 

65. Florence, Baptistery 

66. Florence, Cathedral and Campa- 

nile 

67. Florence, Cloister of Sta. Croce 

and Capella Pazzi 

68. Florence, Cathedral, east end . . 

69. Florence, Cathedral, plan, from 

Boito 

70. Florence, Loggia dei Lanzi .... 

71. Florence, Palazzo Guadagni. . . . 

72. Florence, Palazzo Pitti, rear cor- 

ner 

73. Florence, Palazzo del Podesta 

(Bargello) loggia 

74. Florence, Palazzo Eiccardi 

75. Florence, Palazzo Vecchio 

76. Florence, Sta. Croce, interior . . 

77. Florence, S. Lorenzo, plan, af- 

ter Laspeyres 

78. Florence, Sta. Maria Novella . . . 

79. Florence, S. Miniato 

80. Floi'ence, S. Spirito 

81. Fossanova, Abbey Church 

82. Genoa, Cathedral, porches 

83. Genoa, Cathedral, interior. .... 

84. Genoa, Palazzo Doria-Tursi .... 

85. Genoa, Palazzo Doria - Tursi, 

court, from Gurlitt 

86. Genoa, Palazzo Durazzo 



PAGE 


FIGURE 




87. 


89 




92 


88. 


94 


89. 


95 


90. 


98 


91. 


100 






92. 


101 


93. 


102 


94. 


104 




105 




123 


95. 


124 




125 


96. 


128 


97. 


129 


98. 




99. 


130 




132 


100. 




101. 


133 


102. 


135 


103. 


137 


104. 




105. 


139 


106. 




107. 


140 


108. 


140 




143 


109. 


144 


110. 


146 


111. 


147 




149 


112. 


150 


113. 


152 


114. 


156 




157 


115. 


158 






116. 


158 


117. 


159 


118. 



Genoa, Palazzo Durazzo, stair- 
way 160 

Genoa, Sta. Annunziata, interior. 161 
Genoa, Sta. Maria di Carignano, 

plan 162 

Genoa, S. Siro, interior, after 

Gurlitt 163 

Girgenti, Temple of Castor and 

Pollux 166 

Gubbio, Palazzo dei Consoli. . . . 170 
Jerusalem, Church of Holy Sep- 
ulchre, transept 178 

Jerusalem, Church of Holy Sep- 
ulchre, plan, after De 

Vogiie 180 

Jerusalem, Church of Holy Sej)- 

ulchre, dome 181 

Jex'usalem, Dome of the Rock . . 182 
Jerusalem, Temple Terrace, 

plan 187 

Kalat Siman, Church, plan ... . 190 
Kalb-Luzeh, Church, plan, af- 
ter De Vogiie 191 

Kalb-Luzeh, Church, interior . . 191 
Loreto, Church of Santa Casa. . 195 

Loreto, Santa Casa 196 

Lucca, Cathedral 198 

Lucca, S. Frediano, apse 199 

Mantua, S. Andrea 204 

Mantua, S. Andrea, interior . . . 205 

Matera, Cathedral 207 

Milan, Cathedral and Tower of 

S. Gottardo 214 

Milan, Cathedral, interior 215 

Milan, Ospedale Grande, court- 
yard 216 

Milan, Palazzo degli Osii and 

Scuole Palatine 217 

Milan, S. Ambrogio 219 

Milan, S. Ambrogio, interior. . . 220 
Milan, S. Ambrogio, plan, after 

Eitelberger 220 

Milan, S. Eustorgio, Chapel of 

St. Peter Martyr 221 

Milan, S. Lorenzo 223 

Milan, Sta. Maria delle Grazie. 225 
Milan, S. Satiro, sacristy 226 



ILLUSTRATIONS IN THE TEXT 



FIGURE 

119. Molfetta, Cathedral, interior .. . 

120. Monreale, Catliedral, interior . . 

121. Montepulciano, Madojina di S. 

Biagio, plan after Laspeyres. 

122. Monza, Sta. Maria in Strada .... 

123. Mycenae, Lion Gate 

124. Naples, Alfonso's Arcli 

125. Naples, Cathedral, interior 

126. Naples, S. Martino, cloister 

127. Nazareth, Church of the Annun- 

ciation, interior 

128. Nicosia, St. Sophia 

129. Olympia, plan of excavations, af- 

ter Baedeker 

130. Orvieto, Cathedral, central gable. 

131. Padua, S. Antonio, rear 

132. Padua, S. Antonio, plan 

133. Psestura, Temple of Neptune . . . 

134. Palermo, Cathedral, east end . . 

135. Palermo, Palatine Chapel, inte- 

rior 

13G. Palmyra, Street Colonnade .... 

137. Parenzo, Cathedral, interior, af- 

ter Jackson 

138. Pavia, Cathedral, plan 

139. Pavia, Certosa 

140. Pavia, Certosa, cloister 

141. Perugia, Fonte Maggiore 

142. Perugia, S. Bernardino 



14G. 
147. 



148. 



143. Perugia, Palazzo Pubblico 

144. Perugia, S. Pietro, interior 

145. Pisa, Catliedral and Tower 

Pisa, Cathcdi'al, across transept. 
Pisa. Cathedral, Baptistery, 

Campanile and Campo San- 
to, plan, after IJohault de 

Fleury 

Sta. Caterina 

149. Pistoia, Madonna del Umilta, 

plan, after Laspeyres 

150. Pompeii, Forum 

151. Pompeii, House of Cornelius Eu- 

f us 

152. Pompeii, House of the Faun. . . 

153. Pompeii, House of Pansa, plan. 

154. Pompeii, Temple of Isis 

155. Prate, Cathedral 



230 

233 
235 
238 
240 
241 
243 

245 

247 

251 
259 
264 
264 
266 
2G8 

270 
273 

276 
279 
280 
281 
289 
289 
290 
291 
298 
300 



301 
302 

306 
312 

313 
314 
315 
319 
325 



156. 
157. 

158. 

159. 
160. 



165. 
166. 
167. 



PAGE 

Eavenna, Baptistery, interior . . 330 
Eavenna, S. Apollinare in Classe, 

interior 332 

Eavenna, S. Ajaollinare Nuovo, 

interior 333 

Eavenna, S. Vitale, interior. . . . 335 

Eavenna, S. Vitale, plan 335 

161. Eavenna, Theodoric's Tomb ... 337 

162. Eimini, S. Francesco 339 

163. Eome, Arch of Constantine . . . . 341 

164. Eome, Basilica of Constantine, 

and SS. Cosmo e Damiano . . 343 

Eome, Cancellaria, court 345 

Eome, Capitol Hill, plan 346 

Eome, Capitol and Steps 347 

168. Rome, Castle of S. Angelo 348 

169. Eome, Column of Marcus Aure- 

lius 350 

170. Eome, Fontana Paolina 351 

171. Eome, Forum Eomanum 352 

172. Eome, Forum Eomanum, plan. 353 

173. Eome, Forum of Trajan 354 

174. Eome, Palazzo Borghese, court. 359 
Eome, Palazzo Farnese, loggia. 361 
Eome, Palazzo di Venezia, court. 369 

Eome, Pantheon, plan 370 

Eome, Pantheon 371 

Eome, Sta. Aguese fuori le Mu- 

ra 374 

180. Eome, S. Clemente, interior . . . 379 

181. Eome, Sta. Costanza, interior . . 380 

182. Eome, S. Giorgio in A^elabro, and 

Arcus Argentarius 383 

183. Eome, S. Giovanni in Fonte, 

Baptistei'y of Constantine, 

interior 385 

184. Rome, S. Giovanni in Laterauo. 386 

185. Eome, S. Giovanni in Laterano, 

interior 387 

Rome, S. Lorenzo fuori, interior. 391 
Rome, Sta. Maria degli Angeli . 393 
Rome, Sta. Maria in Araceli, in- 
terior 394 

Rome, Sta. Maria in Cosmedin, 

interior 395 

Rome, Sta. Maria Maggiore, 

rear 397 



175 

176 
177 
178 
179 



186. 
187. 
188. 

189. 

190. 



ILLUSTRATIONS IN THE TEXT 



FIGUKE PAGE TIGUI 

191. Eome, Sta. Maria Maggiore, in- 225. 

terior 398 226. 

192. Kome, Sta. Maria della Pace, 

cloister 400 227. 

193. Kome, S. M. del Popolo, Sforza 228. 

Monument 401 229. 

194. Eome, St. Maria in Trastevere, 230. 

choir 402 231. 

195. Eome, S. Paolo fuori, interior . . 406 232. 

196. Eome, S. Paolo fuori, cloister . . 407 233. 

197. Eome, St. Peter's with its colon- 234. 

nades, plan, after Fontana. 410 235. 

198. Eome, St. Peter's, front 411 236. 

199. Eome, St. Peter's, rear 412 

200. Eome, St. Peter's, interior 414 237. 

201. Eome, Sta. Prassede, interior ., 417 

202. Eome, S. Stefano Eotondo, plan. 421 238. 
303. Eome, Vatican, plan 431 239. 

204. Eome, Vatican, Hall of Statues 

in the Belvedere 432 240. 

205. Salerno, Cathedral, pulpit 438 

206. Salonica, St. Demetrius, interior. 440 241. 

207. Salonica, St. George 441 

208. Segesta, Temple 450 242. 

209. Siena, Cathedral 458 243. 

210. Siena, Cathedral, plan 459 

211. Siena, Palazzo Pubblico 462 244. 

212. Taormina, Ancient Theatre 473 245. 

213. Todi, S. M. della Consolazione. 480 

214. Torcello, Cathedral, interior . . . 481 246. 

215. Toscanella, Cathedral 483 247. 

216. Toscanella, Sta. Maria Maggi- 248. 

ore, interior 484 249. 

217. Trani, Cathedral, doorway 486 250. 

218. Troja, Cathedral, front 490 251. 

219. Turin, Palazzo Madama 491 

220. Turin, La Superga 492 252. 

221. Turin, La Superga, plan, from 253. 

Gurlitt 493 254. 

222. Urbino, Ducal Palace 495 

223. Venice, Ca' d'Oro 497 255. 

224. Venice, Library and Loggia of 

Campanile 498 256. 



E PAGE 

Venice, Palazzo Cavalli 502 

Venice, Palazzo Corner Ca' 

Grande 503 

Venice, Palazzo Dario 504 

Venice, Ducal Palace 507 

Venice, Palazzo Foscari 508 

Venice, Palazzo Loredan 509 

Venice, Palazzo Pesaro 510 

Venice, Palazzo Eezzonico 511 

Venice, Palazzo Vendramini . . . 512 

Venice, S. Giorgio Maggiore. . . 514 

Venice, Piazza S. Marco, plan. . 517 
Venice, St. Mark's and Ducal 

Palace 518 

Venice, St. Mark's, plan, after 

Mothes 519 

Venice, St. Mark's, interior .... 520 
Venice, S. M. dei Gesuiti, in- 
terior 521 

Venice, S. M. Gloriosa dei Frari, 

apse 532 

Venice, S. M. dei Miracoli, 

choir 523 

Venice, S. M. della Salute 524 

Venice, S. M. della Salute, 

plan 524 

Venice, S. Zaccaria, plan 526 

Venice, Scuola S. Giovanni, in- 
terior 527 

Venice, Scuola S. Marco 528 

Vercelli, S. Andrea, plan 530 

Verona, Arena (amphitheatre). . 531 

Verona, Cathedral 532 

Verona, Palazzo del Consiglio . . 533 
Verona, S. Fermo Maggiore, in- 
terior 535 

Verona, S. Zeno, interior 537 

Vicenza, Basilica 539 

Vicenza, Theatro Olympico, in- 
terior, after Gurlitt 540 

Vicenza, Theatro Olympico, 

plan, after Gurlitt 541 

Vicenza, Villa Capra 541 



BIBLIOGRAPHY 



To have attached memoranda of authorities 
to the separate articles would have greatly 
crowded or increased the following pages, and 
led to endless repetition. The list here given, 
with titles somewhat abridged, is selected from 
the embarrassingly abundant literature of the 
subject with the hoi^e of loading the reader 
and the student to such further information as 
they may require. A complete bibliography 
has, so far as the editor knows, never been 
made out, nor the authorities brought together 
in any collection. They are but inadequately 
represented in the libraries of the United 
States, public or private. It is impossible to 
know them all, and some are here cited of 
which it is not possible to speak from personal 
knowledge. 

It is hardly necessary to tabulate in detail 
the well-known histories and hand-books of 
Fergusson, Kugler, Liibke, Schnaase, Eamec, 
D'Agincourt, Dunn, Adamy, Gailhabaud, Per- 
rot and Chipioz ; the biographical works of 
Milizia, Yasaii, Do Quiney ; the treatises of Vi- 
truvius and the great architects of the Eenais- 
sanco; the serials, too many for mention, of 
the archasological societies, English, Ameri- 
can, German, French, Greek, and Italian ; the 
dictionaries of classical antiquities of Smith, 
D'Aremberg and Saglio, and Baumeister ; or 
the various architectural journals, English, 
French, German, and sometimes American. 
Meyer's (Gsell-Fels and others) and Murray's 
gnide-books, also the Guides Joanne, and 
Baedeker's Greece, contain much information, 
more valuable and trustworthy than they are 
often credited with. 

To these may be added the following general 
treatises : 

Botticher. Tektonik der Hellenen. 
Chipiez. Histoire critique des origines de la 
formation des ordres grecs. 



Choisy. L'Art de batir chez les Byzantins. 
Choisy. L'Arfc de batir chez les Eomaius. 
Dehio und von Bezold. Christliche Baukunst 

des Abendlaudes. 
Dohme. Barock und Eococo Architektur. 
Donaldson. The Theatre of the Greeks. 
Haigh. The Attic Theatre. 
Hauser. Sfyllehre der architektonischen For- 

men des Alterthums. 
Hiibsch. Altchristliche Kirchen. 
Isabelle. Les edifices eirculaires et les domes. 
Krell. Geschichte des dorischen Stils. 
Lange. Das antike griechisch-romische Wohn- 

haus. 
Miiatz. Histoire de I'Art pendant la Eenais- 

sance. 
Penrose. An Investigation of the Principles 

of Athenian Architecture. 
Eeber. Geschichte der Baukunst im Alter- 

tum. 
Wiebeking. Biirgerliche Baukunde. 
Winckler. Die Wohnhiiuser der Hellenen. 
Zestermann. Ueber die antiken und clirist- 

lichen Basiliken. 

And the following : 

A — Classical Aechitectube. 
/. Works Embracing Whole Regions. 

Ainsworth. Travels and Researches in Asia 

Minor, Mesopotamia, etc. 
Arundell. Discoveries in Asia Minor. 
Blouet. Expedition scientifique en Moree. 
Bursian. Geographic von Griechenland. 
Cesnola. Cyprus, its Ancient Cities, Tombs, 

and Temples. 
Chandler, Eevett, and Pars. Antiquities of 

Ionia. 
Chandler. Travels into Greece. 
Choiseul-Gouffier. Voyage pittoresque dans 

I'empire Ottoman, en Grece, etc. 



BIBLIOGRAPHY 



Cui'tius. Peloponnesos. 

Dennis. The Cities and Cemeteries of Etruria. 

Dielil. Excursions in Greece. 

Fellows. Journal Written during an Excur- 
sion in Asia Minor. 

Fellows. Travels and Eesearclies in Asia 
Minor. 

Gardner, Hogarth, James, and Smith. Exca- 
vations in Cyprus (Hellenic Studies). 

Hamilton. Eesearclies in Asia Minor, Pontos, 
and Armenia. 

Hittorff. Architecture antique de la Sicile. 

Inghirami. Monumeuti Etrusclii. 

Isambert. Itineraire descriptif, historiqire et 
archeologique de I'Orient. 

Lanckoronski. Stiidte Pamphjliens und Pisi- 
diens. 

Leake. Peloponnesiaca. 

Leake. Travels in the Morea. 

Leake. Travels in Northern Greece. 

Le Bas and Waddiugton. Voyage archeolo- 
gique eu Gr()ce et Asie Mineure. 

Lenormaut. La Graude-Grfece. 

Miller. Le Mont Atlios, Vatopedi, et I'ile de 
Thasos. 

Munro and Tubbs. Excavations in Cyprus, 
1889 (Journal of Hellenic Studies). 

Perrot, Guillaume, and Dechat. Exploration 
archeologique de la Galatie. 

Perrot. L'ile de Crfete. 

Prokesch von Osten. Denkwiirdigkeiten und 
Erinnerungen aus dem Orient. 

Eoss. Eeisen auf den griechischen Inseln des 
agiiischen Meeres . 

Serradifalco. Le Antichitii di Sicilia. 

Society of Dilettanti. The Unedited Antiqui- 
ties of Attica. 

Spon and Wheler. Voyage d'ltalie, de Dal- 
matie, de Grfece, et du Levant. 

Spratt. Travels and Eesearclies in Crete. 

Texier. Description de I'Asie Mineure. 

Texier and Pullau. The Principal Euius of 
Asia Minor. 

"Wheler. Journey into Greece, 1682. 

Wilkins. The Antiquities of Magna Grascia. 

//. Special Works and Monographs. 

(Arranged in order of towns.) 

Aeg.\e. — Bohn and Schuchhardt. Altertiimer 

von Aegae. 
jEgina. — Cockerell. The Temple of Jupiter 

Panhellenius at .^gina and of Apollo 

Epicui'ius at Bassse. 



Gamier. Le Temple de Jupiter Panliel- 
leiiien. 

Ageigentuji. — Klenze. Der Tempel des olymp- 
ischeu Jupiter zu Agrigent. 

Ancona. — Morelli. Guida di Ancona e de' suoi 
dintorni. 

AosTA. — Aubert. Aoste. 

Promis. Le Antichita di Aosta. 

Aegos. — Waldstein . Excavations of the Ameri- 
can School of Athens at Argos. 

Assos. — Clarke. Eeport on the Investigations 
at Assos (Papers of the Arch. Inst, of 
America). 

Athens. 

Adler. Die Stoa des Attalos (Berlin, Winckel- 
mannsprogramm, 1874:). 

Bevier. The Olympieion at Athens (Papers of 
the Amer. School of Class. Stud, at Athens). 

Bohn. Propylaeen der Akropolis von Athen. 

Botticher. Die Akrojiolis vou Athen. 

Choisy. L'Erechtheiou. 

Curtius. Die Stadtgescliichte von Athen. 

Doei'pfeld. Many papers on the Acropolis and 
its buildings in the Mittli. d. k. d. arch. 
Inst. Athen. 

Dyer. Ancient Athens. 

Fergusson. The Parthenon. 

Fowler. The Erechtheion at Athens (Papers 
of the Amer. School at Athens). 

Fowler. The Temple on the Acropolis Burnt 
by the Persians (Amer. Journ. of Archfeol.). 

Frazer. The Pre -Persian Temple on the 
Acropolis (Journ. Hellen. Studies). 

Girard. L'Asclepieion d'Athfeiies. 

Harrison and Verrall. Mythology and Monu- 
ments of Ancient Athens. 

Inwood. The Erechtheion at Athens. 

Michaelis. Der Parthenon. 

Penrose. On the Ancient Hecatompedon 
which Occupied the Site of the Parthenon 
(Journ. Hellen. Studies). 

Eoss, Scliaubert, and Hansen. Die Akropolis 
von Athen nach den neuesten Ausgrabung- 
en. I., Der Tempel der Nike Apteros. 

Scliillbach. Ueber das Odeum des Herodes 
Atticus. 

Stuart aud Eevett. Antiquities of Athens. 

Tuckermann. Das Oeleum des Herodes Atti- 
cus und der Eegilla restaurirt. 

Wachsmuth. Die Stadt Atheu im Altertum. 

Wheeler. The Theatre of Dionysus (Pajiers 
of the Amer. School at Athens). 



BIBLIOGRAPHY 



BASSiE. — Cockerell. The Temples of Jupiter 
Pauliellenius at ^giua aud of Apollo 
Epicurius at Basswe. 
Stackelberg. Der ApoUotempel zu Bassos 
in Arkadieu. 
Benevento. — Meomartiuo. I monumenti e le 
Opere d'Arte della Citta, di Benevento. 
Petersen. L'Arco di Traiauo a Benevento 
(Mitth. d. k. d. arch. Inst. Rom.). 
Ckotona. — Clarke. Letters on Croton An- 
nual Eei^orts of the Archteol. Inst, of 
America. 
Cyrene. — Smith and Porcher. History of the 

Recent Discoveries at Cyrene. 
Delos. — HomoUe. Les Fouilles de Delos. 

Lebigne. Recherches sur Delos. 
DoDONA. — Carapanos. Dodone et ses mines. 
Ephesus. — Falkener. Ephesus and the Tem- 
ple of Diana. 
Murray. Remains of Archaic Temple of 
Artemis at Ephesus (Journ. Hellen. 
Stud.). 
Weber. Guide du voyageur u fiphSse. 
Wood. Discoveries at Ephesus. 
Epid.vurus. — Dumou. Le Theatre de Poly- 
clete. 
Kabbadias. Fouilles d'Kpidaure. 
Eretria. — Fossuni and Brownson. Excava- 
tions in the Theatre at Eretria (Amer. 
Jour. Archieol. ). 
Fiesole. — Inghirami. Guida di Fiesole. 
Gjolbaschi. — Benndorf and Neumann. Das 

Hereon von Gjolbaschi. 
Gortyna. — Halbherr. Tempio di Apollo a 
Gortyna (Mtiseo Italiano, ii. ; Monu- 
menti Antichi, i.). 
Halicarnasscs. — Fulkener. On the Mauso- 
leum or Sei)ulclue of Mausolus at Hali- 
carnassus (Museum of Classical An- 
tiquities). 
Fergusson. The Ma\isoleum at Halicar- 

nassus Restored. 
Newton. A History of Discoveries at 
Halicarnassus, Cnidus, and Brauchidre. 
Petersen. Das Maiisoleum. 
Herculaneum. — Carcaui and others. Le Anti- 
chita di Ercolauo. 
David. Les antiquites d'Erculanum. 
Gori. Admiranda antiquitatnm Hercu- 

lanensium. 
Piroli aud Piranesi. Antichitil di Erco- 
lano. 
MagnesI-I. — Hiller v. Gaertringen, Kern, and 



Doerpfeld. Ausgrabungen im Theater 
von Magnesia (Mitth. d. k. d. arch. Inst. 
Athen). 
Megalopolis. — Gardner, Loring, Richards, and 
Woodhouse. Excavations at Megalopo- 
Hs. 
Miletus. — Rayet and Thomas. Milet et la 
Golfe Latmique, Tralles, etc. 
Rayet. Le Temple d'Apollon Didymeen. 
MYCENiE. — Scliliemaun. Mykenffi. 
Neandeia. — Koldewey. Neandreia (51st Berlin 

Wiuckelm annsprogr. ) . 
Olympia. — Botticher. Olympia, das Fest und 
seine Stiitte. 
German Government (Adler, Curtius, and 

others). Ausgrabungen von Olympia. 
German Government. Funde von Olym- 
pia. 
German Government. Olympia. Die Er- 
gebnisse der . . . Ausgrabungen. 
Orchosienus. — Schliemann. Orchomenos. 
OsTiA. — Cauina. Indicazione delle Rovine di 

0.stia e di Porto. 
Paestcm. — Delagardette. Les mines de Paes- 
tum ou Posidonia. 
Labrouste and Dassy. Les temples de 

Paestum. 
Major. The Ruins of Paestum or Posi- 
donia. 
Piranesi. Opere, vol. xv. (Paestum). 
Pergaiion. — Bohn. Der Tempel des Dionysos 
zu Pergamon (Preuss. Akad., 1885). 
Conze, Humann, and others. Die Ergeb- 

nisse der Ausgralmngen zu Pergamon. 
Thiersch. Die Konigsburg von Perga- 
mon. 
PoLA. — Allason. Picturesque Views of Pola in 
Istria. 
Sancovich. Dell' Aufiteatro di Pola. 
Stuart and Revett. Antiquities of Athens. 
PoMPEn. — Donaldson. Pompei Illustrated. 
Dyer. Pompei. 
Gell and Gandy. Pompeiana. 
Mau. Pompeianische Beitriige. 
Mazois. Les ruines de Pompei. 
Overbeck. Pompeji in seinen Gebauden, 

etc. 
Von Duhn and Jacobi. Der griechische 
Tempel in Pompei. 
Preene. — Pullau. Priene and Teos. 
Rimini. — Tonini. Dell' Aufiteatro di Rimini. 
Tonini. Rimini avanti el Priucipio dell' 
Era Volgare. 



BIBLIOGRAPHY 



Adler. Das Pantheon zu Rom. 

Blavette. Etude sur le Pantheon de Eome 
(Melanges archeologiqnes, 1885). 

Borsari. II Foro di Augusto ed il Tempio di 
Marte Ultore. 

Burn. Eome and the Campagna. 

Fea. La Basilica di Constantino sbandita 
della Via Sacra. 

Fontana. L'Anfiteatro Flavio desciitto ed il- 
lustrate. 

Frohner. La Coloune Trajane. 

Gilbert. Geschichte und Topographie der 
Stadt Rom. 

Hiilsen. Das Pantheon (in Jahresbericht, 
Mitth. d. k. d. arch. Inst. Rom, 1893, p. 
305). 

Hiilsen. Das Septizonium des Severus. 

Hiilsen. Die Regia (Jahrb. d. arch. Inst.). 

Jordan. Topographie der Stadt Rom. 

Lanciani. Ancient Eome in the light of re- 
cent discoveries. 

Lanciani. II Pantheon e le Terme di Agrippa 
(Not. d. Scav., 1881, 1882). 

Lanciani. L'Atrio di Vesta. 

Lanciani. Pagan and Christian Rome. 

Lesueur. La Basilique Uljjienne. 

Middleton. Remains of Ancient Rome. 

Nibby. Del Tempio della Pace e della Basili- 
ca di Constantino. 

Nichols. The Regia, the Atrium Vestse, and 
the Fasti Capitolini. 

Nichols. The Roman Forum. 

Piale. Del Tempio di Marte Ultore e dei tre 
Fori di Cesare, d' Augusto, e di Nerva. 

Piranesi. L'Autichita Romana. 

Piranesi. La Magnificenza dei Romani. 

Platner, Bunsen, Gerhard, and others. Die 
Beschreibung der Stadt Rom. 

Reinach. La Colonne Trajane. 

Eichter. Die Augustusbauten auf dem Forum 
(Jahrb. d. arch. Inst.). 

Richter. Topographie von Rom. 

Richter and Grifi. II Ristauro del Foro 
Traiano. 

S.iLiNTJS. — Hittorff and Zanth. Eecueil des 
monuments de Segeste at de Selinonte. 

Samothrace. — Conze, Hauser, and Neumann. 
Archaologische Untersuchungen auf Sa- 
mothrake. 
Conze, etc. Neue Archaologische Unter- 
suchungen auf Samothrake. 



SicYON.— McMurtry and Earle. Excavations 

at the Theatre of Sicyon (ximer. Journ. 

of Arch.). 
Spalato. — Adam. Euins of the Palace of the 

Emperor Diocletian at Spalatro. 
Hauser. Spalato und die romischen Monu- 

mente Dalmatiens. 
SuNiUM. — Doerpfeld. Der Tempel von Sunion 

(Mitth. d. k. d. arch. Inst. Athen, ix., p. 

324). 
Syeacuse. — Beule. Les temples de Syracuse. 
Cavallari and Holm. Topografia arche- 

ologica di Siracusa. 
Thoeicus.— Miller and Gushing. The Theatre 

of Thoricus (Papers of the Amer. School 

at Athens). 
TiEYNS. — Schliemaun. Tiryns. 
Tralles. — Humann and Doerpfeld. Ausgra- 

bungen in Tralles (Mitth. d. k. d. arch. 

Inst. Athen). 
Teoy. — Schliemaun. Bericht iiber die Aus- 

grabungen in Troja im Jahre 1890. 
Schliemann. Ilios. 
Schliemaun. Troja. 
Veeona. — Maft'ei. Descrizioue dell' Anfiteatro 

di Verona. 
Maffei. Verona illustrata. 
Xanthus. — Fellows. Account of the Ionic 

Trophy-monument Excavated at Xan- 
thus. 



B — Italian Architecture. 

/. General Works. 

Bindi. Monirmenti, etc., degli Abruzzi. 
Boito. Architettura del Medio Evo in Italia. 
Burckhardt. Geschichte der Eeuaissance in 

Italien. 
Callet and Lesueur. Architecture septen- 

trionale italienne. 
Capeletti. Le chiese d' Italia. 
Cattaneo. L' Architettura iu Italia dal Secolo 

VI. al mille circa. 
Chapuy. L'ltalie monumentale et pittoresque. 
Choisy. L'art de batir chez les Byzantins. 
Clericetti. Eicerche suU' architettura lom- 

barda. 
Cordero. Dell' architettura Italiaua durante 

la dominazione lougobarda. 
Cresy and Taylor. Architecture of the Middle 

Ages in Italy. 



BIBLIOGRAPHY 



Dantier. LTtalie. 

Dartein. Etude sur rarcliitecture lombarde. 

De Lnynes. Monasteres des Normands dans 

ritalie meridionale. 
Di Marzo. Delle belle arti in Sieilia. 
Enlart. Oiigines fraucaises de Tarchitecture 

gotliique en Italie. 
Foerster. Bauwerke der Eenaissance in Tos- 

cana. 
Galland and Koseuerauz. Geschiclite der 

Italianischen Renaissance. 
Gally-Kniglifc. Ecclesiastical Architecture of 

Italy. 
Gally-Kniglit. Saracenic and Norman remains 

in Sicily. 
Gally-Knight. The Normans in Sicily. 
Garucci. Storia della arte cristiana nei primi 

otto secoli della chiesa. 
Geymiiller and Widmann. Arcliitektur der 

Renaissance in Toscana. 
Graudjcan de Montigny and Famin. Archi- 
tecture toscane. 
Griiner. Terra-cotta Architecture of Northern 

Italy. 
Gurlitt. Geschiclite des Barockstyls in Ital- 

ien. 
Hittorff and Zanth. Architecture modcrne 

de la Sicile. 
Isabelle. Italia monnmentale. 
Isabelle. Renaissance Italienne. 
Laspeyres. Bauwerke der Renaissance in 

Umbrien. 
Laspeyres. Kirchen der Renaissance in Ital- 

ien. 
Lenormant. A travers I'Apulie et la Lucanie. 
Mella. Elementi dell' architettura romano-bi- 

zantina, detta lombarda. 
Mittcl;'ilterliche Ivnnstdenkmaler des Oester- 

roichischon Kaiserstaates (by Heider, Ei- 

tclburgcr, and others). 
Mothcs. Baukunst des Mittolaltors in Italion. 
Norton. Church Building in the Middle Ages. 
Osten. Bauwerke in der Lombardoi. 
Paraviciui. L'architecture de la Renaissance 

en Lombardie. 
Pareto. Italie monnmentale. 
Peyer im Hof. Renaissance Arcliitektur Ital- 

iens. 
Planat. Encyclopedic dc rarcliitecture et de 

la construction. 
Pullan. Eastern Cities and Italian Towns. 
Qiiast. Sammlung der vorziiglichsten Denk- 

uiiiler der Architektur in Italieu. 



Quicherat. Melanges d'archeologie et d'his- 
toire. 

Redtenbacher. Die Arcliitektur der Italien- 
ischen Renaissance. 

Ricci. Storia dell' architettura in Italia. 

Rohault de Fleury. La Toscane au Moyen 
Age. 

Ruhl. Denkmaler der Baukunst in Italien. 

Ruhl. Kircben, Palaste und Kloster in Ital- 
ieu. 

Eumohr. Italieuische Forschungen. 

Runge. Backsteiu Architektur in Italien. 

Runge and Rosengarten. Architektouische 
Mittheiluugen liber Italien. 

Salazaro. L'Arte romana al medio evo. 

Salazaro. Sieilia artistica e archaelogica. 

Salazaro. Studi sui monumenti dell' Italia 
meridionale. 

Schulz. Denkmaler der Kuust des Mittelal- 
ters in Unter-Italien. 

Schlitz. Die Renaissance in Italien. 

Selvatico. Le arti del disegno in Italia. 

Sernidil'alco. Le antichita della Sieilia. 

Serradifalco. Vedute pittoresche dei monu- 
menti di Sieilia. 

Strack. Central und Kuppelkirchen der Re- 
naissance in Italien. 

Strack. Ziegelbauwerke der Eenaissance in 
Italien. 

Street. Brick and Marble in the Middle Ages. 

Vitet. Architecture lonibarde. 

W'iebeking. Burgerlicher Baukunde. 

Willis. Remarks on the Architecture of the 
Middle Ages, esiiecially of Italy. 

//. Speriid IVorJcs and Monographs. 
(Arrangred in order of towns.) 

Assisi. — Fratiui. San Francesco, A.ssisi. 

Peiilli. Relazione storica della basilica 

degli Angeli i^resso Assisi. 
Bkesci.\. — Odorici. Antichita cristiane di 

Brescia. 
Zamboiii. Pubbliche fabbriche piu in- 

signe di Brescia. 
C.U'K.VRoii.v. — Maccari. II Palazzo di Caiirarola. 
C.vSEUT.v. — Yanvitelli. Diehiarazione dei di- 

segni del reale Palazzo di Caserta. 
CHi.\i5.\v.\LiiE. — Caffi. Deir Abbazia di Chiara- 

valle in Lombardia. 
CnTD.\LE. — Eitelberger. Cividale in Friaul und 

seine Mouumente. 



BIBLIOGRAPHY 



Floeence. — Castelluzzi. II Palazzo cletto di 

Or Sau Micliele. 
Cellesi. Sei Fabbiiclie di Firenze. 
Durm. Die DomkniDpel in Florenz und 

die Kuj^ijel der Peterskirclie zu Eom. 
Francescliini. Santa Maria del Fiore. 
Frey. Die Loggia dei Lauzi zu Florenz. 
Guasti. Santa Maria del Fiore. 
Guasti. La Cupola di Santa Maria del 

Fiore illustrata. 
Molini. La nietropolitana fiorentina. 
More. La facciata di San^'i Maria del 

Fiore. 
Ozanam. Saint Croix a Florence. 
Eicba. Notizie istoriclie delle chiese di 

Firenze. 
Eeinbardt and Raselidorff. Palast-Arebi- 

tektur von Ober-Italien und Toscaua 

(Tuscany by Easchdorft'). 
Euuge. Glockentburni des Doms zu 

Florenz. 
Genoa. — Gautliier. Les plus beaux edifices de 

la ville de Genes. 
Eeinbardt and Easchdorff. Palaat-ArcLi- 

tektur von Ober-Italieu und Toscana 

(Genoa by Eeinbardt). 
Eubens. Palazzi anticbi e moderni di 

Geneva. 
GuBBio. — Mella. Palazzo municipale di Gub- 

bio. 
LucoA. — Schmarsow. Sau Martino von Lucca. 

Schmarsow. San Michele von Lucca. 
Messina. — Eoux Aine. Cliarpente de la cathe- 

drale de Messina. 
Milan. — Annali della Fabbrica del Duomo di 

Milano. 
Artaria. II Duonio di Milano. 
Beltrami. II Castello di Milano sotto il 

dominio degii Sforza. 
Boito. II Duomo di Milano. 
CafiS. Chiesa di San Eustorgio. 
Cassina. Le fabbriche piu cosiDicue di 

Milano. 
Landriani. La basilica ambrosiana di 

Milano. 
Paravicini. II Palazzo Marino di Mi- 
lano. 
Salts. Anticlie basiliche di Milano. 
Villardi. Le dome de Milan (en 70 

Planches). 
MoDENA.— Eoncaglia. La Cattedrale di Mo- 

dena. 
Monreale — Gravina. II Duomo di Monreale. 



Serradifalco. Del Duomo di Monreale e 
di altri cliiese Sicolo-Normane. 
MoNTE Cassino. — Tosti. Storia della Badia di 

Monte Cassino. 
Montepulciano. — Lambert. Madonna di S. 

Biagio, Montepulciano. 
Oevieto. — Benois. Monographie de la catlic- 
drale d'Orvieto. 
Delia Valle. Storia del Duomo di Orvieto. 
Fumi. II Duomo di Orvieto. 
Luzi. II Duomo di Orvieto. 
Padua. — Gliislandi. La Basilica di San An- 
tonio di Padova. 
Gonzati. La Basilica di San Antonio di 
Padova. 
Palermo. — Beclcer and Forster. Die Cathe- 
drale zu Palermo. 
Buscemi. La basilica di S. Pietro (Cajoella 

Eegia) Palermo. 
Dehli and Chamberlain. Norman Monu- 
ments of Palermo and Environs. 
Parenzo. — Lohde. Der Dom zu Parenzo. 
Paema. — Lopez. II battistero di Parma. 

Odorici. La Cattedrale di Parma. 
Pa via. — Beltrami. La Certosa di Pavia. 

Deir Acqua. La basilica di S. Michele 

Maggiore, Pavia. 
Duvilli. La Certosa di Pavia. 
Noack. Die Certosa bei Pavia (Photo- 
graphs). 
PiENZA. — Holzinger. Pienza. 

Mayreder and Benda. Pienza aufgenom- 
men und gezeichnet. 
Pisa. — Cresy and Taylor. Architecture of the 
Middle Ages in Pisa. 
Grassi. Fabbriche principale di Pisa. 
Martini. Les graudes edifices de Pise. 

Notes by Lejeal. 
Eohault de Fleury. Monuments de Pise 
au moj'en age. 
Eavenna. — Qnast. Altchristliche Bauwerke 

von Eavenna. 
RiMiNL — Fossati. Le Temple de Malatesta a 
Eimini. 

EOJIE. 

Armellini. Chiese di Eoma dal Secolo IV. al 

XIX. 
Baltard. Villa Medicis et Academie de France 

a Eonie. 
Barbault. Les plus beaux edifices de Eome 

moderne. 
Barbier. Les Eglises de Eome. 



BIBLIOGRAPHY 



Bonanni. Templi Vaticani liistoria. 

Boucliet. La Villa Pia. 

Campiui. Churches of Constantine. 

Canina. Edifizii di Eoma. 

Caterbi. La chiesa di Sau Onofrio. 

Crescibeni. Basilica di S. M. in Cosmedin. 

De Aagelis. Basilicae S. Mariae Majoris . . . 

desci'iptio. 
Durm. Die Domkirclie in Florenz und die 

Peterskirche zu Eom. 
Ferrerio. Palazzi di Eoma de' pia celebii ar- 

chitetti. 
Fontana. Eaccolta, delle chiese di Eoma. 
Fontana. Templum Vaticaniim. 
Gerardi. La patriavcale basilica liberiana. 
Geymilllei-. Urspriingliche Eutwiirfe fiir die 

Peterskirche 7,\\ Eom. 
Gutensohu and Kuapp. Basiliken des Christ- 
lichen Eoms. (Text by Bunsen.) 
Jovanovitz. For.schungen iiber den Bau der 

Peterskirche zu Eom. 
Letarouilly. Edifices de Eome moderne. 
Letarouilly. Le Vatican et la basilique de S. 

Pierre, etc., Eome. 
Montelatici. Villa Borghese. 
IMnllooly. San Clemente. 
Muutz and Frothinghani. Tesoro della basil 

ica S. Pietro. 
Nicolai. Basilica di S. Paolo. 
Parasachi. Eacoltii delle piincipale fontane 

di Eoma. 
Peroier and Fontaine. Maisons de plaisance 

de Eonic et de ses environs. 
Percier and Fontaine. Palais, maisons, et au- 

tres editices dessines a Eome. 
Perrot. Les Catacombes de Eome. 
Pistolesi. II Vaticano descritto et illustrate. 
Platncr, Bnnsen, and als. Beschreibung der 

Stadt Eome. 
Righetti. Doscrizione del Campidoglio. 
Eohault de Fleury. Le Lateran au moyen 

age. 
Eondelet. Etudo sur la conpole du Pantheon 

de Eome. 
Eossi. Basilica di Sau Stefano Rotoudo, 

Eoma. 
Eossi. Chiese di Eoma. 
Eossi. Fabbriche di Roma. 
Rossi. La basilica di S. Stefano Rotondo. 
Rossi. Roma Sotteranea. 
Rossini. I monnmenti i jiiu interessanti di 

Roma. 
Strack. Bandcnkmiilor Eoms. 



Suai'di. Eovine di Eoma nel XVI. Secolo. 
Suys and Handebourg, Palais Massimi a 

Eome. 
Suys. Description historique du Pantheon de 

Eome. 
Uggeri. Basilica di S. Paolo. 
Valentini. La patriarcale basilica lateranensa. 
Valentini. La basilica liberiana. 
Valentini. La basilica vaticana3. 
ToDi. — Laspeyres. S. M. della Consolazione 

zu Todi. 
Tdkin. — Auderisio. La reale basilica di Su- 
perga. 
Paroletti. Description historique de la 
basilique de Superga. 
Uebino. — Arnold. Herzogiiche Palast von Ur- 

bino. 
Venice. — Boito. La basilica di S. Marco in 
Venezia. (See Ongania.) 
Cadorin. II palazzo ducale. 
Cicognara. Le fabbriche piu cospicue di 

Venezia. 
Fontana. Cento palazzi veueziani. 
Giorni. II temj^io di SS. Giovanni e Paolo 

in Venezia. 
Mothes. Baukunst und Bildhauerei des 

Mittelalters in Venedig. 
Nicoletti. Chiesa e Scuola San Eocco. 
Ongania. Les princii^aux monuments de 

Venise. 
Ongania. S. Marco. (Text by Boita.) 
Peyer im Hof. La basilica di S. Marco. 
Quadri. La Piazza S. Marco. 
Eondelet. Essai historique sur le Pont du 

Eialto. 
Euskiu. Stones of Venice. 
Selvatico. Architettura e Scultura in Ve- 
nezia. 
Zanotto. II palazzo ducale di Venezia. 
Verona. — Essenwein. Die Kirche Sta. Anas- 
tasia zu Verona. 
Manara. Antica basilica di S. Zenone, 
Verona. 
ViCENZA. — Boni. Vicenza medievale. 

IMagrini. Sull architettura in Vicenza. 
Magrini. II teatro olimpico in Vicenza. 
Scamozzi. L'Accademia Olimpica di Vi 
cenza. 



C- 

Couchaud. 
De Vogiie. 



-CouNTEiES East of Italy. 

Eglises byzantines en Grece. 
Svrie Centrale. 



BIBLIOGRAPHY 



De Vogiie. figlises de la Terre Sainte. (Con- 
sult also, for the buildings at Jerusalem, 
the monograijhs of Willis, Fergusson, Ad- 
ler, Sepp.) 

Eitelberger. Mittelalterliche Kunstdenkmitler 
Dalmatiens. 

Fossati. Aya Sofia, Constantinople. 

Jackson. Dalmatia, Quarano and Istria. 

Kanitz. Serbieu's Byzantinisclie Monumente. 

Labarte. Palais imperial de CoustantinoiDle. 



L'Architecture Ottomane. 

Lethaby and Swainson. Sancta Sofia. 

Pulgher. Les anciennes eglises byzantiues 

de CoDstantinoiDle. 
Pnllan. Italian cities and Eastern towns. 
Salzenberg. Altchristliche Baudenkmaler 

Constautiuopels. 
Sclmltz, K. W. Byzantine Architecture in 

Greece. 
Texier and Pullan. Byzantine architecture. 



xxil 



GLOSSARY 



[Architectural terms are used by different writers with much latitude, and vaiiety of meaning. The 
glossary does not assume to record all the meanings that are given to the words that are cited, but only 
such as are used in this book.] 



Abacus — a flat slab which forms the 
top of a capital and receives its load. 

AcROLiTHic — said of a statue which has 
head and extremities of marble, but ex- 
cept these is made of other material. 

AcuOTEiiiUM — an upright terminal or- 
nament ^ilaced at the vertex or the foot of 
a pediment. 

Adytum — a shrine. 

Agora — market square or forum. 

Aisle — a long division of a building, 
bordered by columns or piers. 

Al.e — wings. 

Ambo (plural amboucs) — a pulpit or 
reading-desk ; one of a pair set on each 
side of the choir of an early church. 

Ambulatory — the aisle that makes the 
circuit of the apse of a church. 

Ami'IIIPRostyle — having a colonnade 
at each end. See 'Temple. 

Analemmata — the wing Avails which 
flank the stage of a Greek theatre, and 
against which the end seats of the audi- 
torium abut. 

ANT.Ti — pilasters at the ends of the 
lateral walls of a Greek temple on each 
side of an opening. See Temple. 

AjSTTEFIX^ — ornaments set along the 
upper member of a classic cornice, com- 
monly in the form of anthemions. 

Anthemiox — a radiating leaf ornament 
in classic art, also known as palmetto and 
honey-suckle ornament. 



Apodyterium — dressing-room. 

Apophyge — the outward curve at the 
top or bottom of a classic shaft Avhere it 
joins the base or capital. Called also 
conge. 

Apse — a recess in the wall of a build- 
ing, larger than a niche and showing in a 
projection outside. It is a common ad- 
junct to churches. It is better to limit 
the word to round or polygonal recesses, 
though sometimes a square projecting bay 
is called an apse. A Byzantine apse is 
round within and polygonal without. 

Arch — a round arch is a semicircle ; a 
segment arch, less than a semicircle ; a 
horseshoe arch, greater. A depressed arch 
is a curve lower than a semicircle ; a stilt- 
ed arch is raised by continuing its lines 
downward vertically so that it is higher 
than a semicircle. Two arcs meeting in a 
point at the crown make a pointed arch. 
A ramping arch has one foot higher than 
the other. A bearing-arch, discharging- 
arch, or relieving-arch, is an arch built 
over another arch or a lintel to relieve it 
of its load. 

Architrave — the beam of wood or 
stone which, spans the interval between 
columns, and hence the lower member of 
a classic entablature even when it is sup- 
ported by a wall instead of columns. (See 
E)itahlature.) It is crowned by a mould- 
ing, and sometimes divided into bands. 



GLOSSAEY 



A similar band and moulding carried 
round a classic door or window receives 
the same name. See Order. 

Archivolt — an architrave bent roiind 
an arch. 

Arcosolium — an arched niche for a 
sarcophagus in a burial chamber. 

AsiiLAK — masonry of squared stones 
dressed to uniform sizes, uniformly bond- 
ed and faced. 

AsTEAaAL — a small round moulding, 
called also a bead. 

Atrium — an open space surrounded by 
a colonnade or arcade, before a church or 
within a classic house. 

Attic Base — a classic base for a col- 
umn, consisting of two toruses with a sco- 
tia between, separated by small fillets. 

Baldacchin"0 — a canopy over an altar. 
See also Ciborium. 

Baroco. See Renaissance. 

Barrel-vault. See Vaults. 

Basilica — in its earliest known form 
a Eoman building used as an exchange, 
and for magistrates' courts. It commonly 
consisted of a large nave enclosed on two 
sides, and sometimes on all four, by 
colonnaded aisles. The aisles were some- 
times in two stories : the nave, which was 
always in one, rose above them and was 
lighted by a clerestory. There was often 
an apse at one end, where the magistrate 
sat, and rarely there was a transept. The 
Christian Church promptly adopted the 
basilica as the typical form of its churches. 
The colonnades became arcades, the side 
aisles were sometimes doubled. The 
doors were set in the end, usually the 
west end ; the more important basilicas had 
at the other end a transept with raised 
floor set apart for the clergy ; the apse was 
lined with seats for the higher clergy, the 
bishop's throne in the middle, and before 
it was the high altar ; transept and nave 
were separated by a great arch called the 
Triumphal Arch. The name basilica ad- 
heres as a title to some of the more im- 



portant churches of Eome which have lost 
their basilican form, as St. Peter's, St. John 
Lateran, and several others. 

Bay — a vertical division or slice, as it 
were, of an architectural composition, 
marked off by pillars, buttresses, piers, 
or other indications, as the bays of a 
mediaeval church. The Lombard churches 
developed a system of double bays in 
Avhich two bays in the aisles correspond to 
one in the nave. 

Bearing-arch. See Arch. 

Bed Mouldikg. See Order. 

Bema — a tribune for public notices or 
speeches ; also the sanctuary or place re- 
served for the celebration of the service in 
a Creek or early Latin cliurch. 

BouLETERiOJsr — council-liouse (or cham- 
ber). 

Broach — originally a spire set on a 
toAver without intervening parapet or pin- 
nacle. A broach-spire has come to signify 
an octagonal spire set on a square tower 
where the angles of the tower are cov- 
ered by triangular pyramids leaning back 
against the diagonal faces of the spire. 

Broletto — a North-Italian town-hall.' 

BucRANiA — ox - skulls carved on the 
frieze of a temple. 

Byzantine — the style of art devel- 
oped under the Creek Empire from the 
V cent, to the xiv. The most conspicu- 
ous feature of its architecture is the dome 
on pendentives over a square area, of which 
the most important example is Sta. Sofia 
at Constantinople. This style substituted, 
like the Romanesque, the arcade for the 
colonnade, affected the Creek cross in its 
church plans, and perfected and used in 
great profusion the decoration of Avails 
and vaults Avith pictorial mosaic. 

Caldariuji — the hot room or sweating- 
room of a Roman bath. 

Campanile — an Italian bell-toAver. 

Capital. For classic capitals see Or- 
der. A Composite capital (Avith a capital 
letter) is a capital of the Composite order ; 



GLOSSAEY 



but a capital is sometimes called composite 
when it is classical in style, yet cannot be 
assigned to any order. Tlie cubic capital 
is of Lombard origin, a cubical block, 
witli its lower corners usually rounded ofE 
to meet the shaft. A cusliion-capital is 
the same caj)ital more cut away from its 
shape at the bottom, and more decorated. 
A crocket-capital is one whose bell is dec- 
orated with crockets, and is the Gothic 
analogue of the Corinthian. 

Cavea — the auditorium of a Roman or 
Greek theatre, forming part of a circle or 
oval, and hollowed to a funnel shape, 
whence its name. 

Cklla — the enclosed part of a Greek 
or Koman temple. 

CiiAiSrN"ELS — longitudinal hollows cut 
in tlie surface of a Doric column. They 
differ from flutes {q. v.) in not having any 
fillets or flat strips between them. 

Chevet — the French name for the 
chancel or sanctuary at the east end of a 
cliurcli. The Frencli chevet usually but 
not always consists of a round or poly- 
gonal apse girt with an aisle and a series 
of radiating chapels. 

Choir — the space, usually enclosed, 
which is reserved for tlie celebration of the 
service in a church. 

CiBOKiUM — a canopy over a higli altar 
of a ciiurch. later called a baldacchiuo. 

Cinque FOIL. See Full. 

Clerestoky — the upper part of a wall 
or nave wlien it rises above aisles or wings 
and is lighted by windows. 

Cloister — an open court lined with 
arcaded galleries in a convent. The name 
is often given to the galleries themselves. 

(■LoisTKRKi) Vault. See YanUs. 

VovvvM — a deep sunken panel in a vault 
or ceiling. 

Composite. See Order. 

CoNCii — a semi-donie over a niclio or 
apse. 

CoNFESsio — a recess under the high 
altar of an early church to receive the body 
or relics of a saint. 



Corbel — a solid bracket supporting a 
cornice, string-course, shaft, or other feat- 
ure in medieeval architecture. 

Corikthian. See Order. 

CoRKiccioxE — a principal cornice at 
the top of a fayade. 

CoRTiLE — a courtyard or interior court 
in Italian architecture. 

Cove — a half -vault, leading up into a 
flat ceiling. 

Crepidoma — the platform or stereobate 
of a temple. 

Cressets — iron baskets set up to hold 
lights, as for beacons. 

Crocket — an ujn-ight Gothic leaf, 
curling outward at the tip, and ending in 
a knob or bunch of leaflets. It is used 
on capitals, and on the ascending ribs of 
pinnacles, gables, etc. 

Cross-rib. See Vaults. 

Crown-moulding. See Order. 

Cruciform Church — one in which the 
nave and transeiat intersect, making a 
four-armed cross, in which all four arms 
are usually marked off by arches. 

CuNEi — the wedge-shaped groups into 
which the seats of a theatre or amphi- 
theatre are divided by radiating passages. 

Cushion-capital. See Capital. 

Cusp — the sharp angle of two meeting 
curves. See Foil. 

Cyma — a reversed curve or wave-line, or 
a moulding in that form. The Cyma 
Eecta is horizontal at top and bottom, the 
Cyma Reversa, called also the Lesbian 
C'yma or talon, is vertical at top and bot- 
tom. 

Cymatium. See Order. 

Decastyle. See Temple. 

Dentils — snuxll square blocks used in 
a series as decorations for a cornice or 
string-course. 

DiACONicoN — one of the two small 
chambers which flank the chief apse of a 
Greek church. See also Protliesis. 

DiAGONAL-RiB. See Vaults. 

DiAZOMA — the Greek term for a hori- 



GLOSSAKY 



zontal eucircling passage between the seats 
of a theatre — a precinction. 

Dipteral. See Temple. 

DiscHARGi]S"G-ARCH. See Arcli. 

Doric. See Order. 

Dromos — a straight entrance-passage, as 
for the runners in a stadium. 

Drum — the ring-wall on which a dome 
stands. 

Duoiio — an Italian name for a cathe- 
dral. 

EcHEA — acoustic vessels, described by 
Vitruvius, and set about the auditorium 
of a theatre. 

EcHixus — the convex moulding which 
snj)ports the abacus of a Doric capital. 
See Order. 

Edicule — a little building. 

Empor — the German name for an np- 
|)er aisle or gallery in an early church, 
afterward replaced by the triforium. 

Engaged Coluiuns — columns set 
against a wall or pier so as to seem par- 
tially embedded. 

ENTABLATURE. See Order. 

Entasis — the convexity or swelling in 
the middle of the shaft of a classic column. 

Epinaos — the rear vestibule of a tem- 
ple. Cf. 02)isthodomos. 

Epistyle — the Greek name for an ar- 
chitrave over columns. 

Exedra — originally a council-room. 
Then a seat carried round a central space 
as if for council, and for monumental uses 
a seat lining an apse or niche. 

ExTRADOS — the upper convex surface 
of an arch, usually loaded with masonry. 
Cf. Intrados. 

FA9ADE — the main front of a building. 

Fascia — a flat band among mouldings, 
wider than a fillet. 

Fauces — a narrow entrance passage or 
connecting passage in a building. 

Fillet — a flat square-edged strip used 
among mouldings, called also a listel. 

Flute — a longitudinal hollow corru- 



gating the shaft of a column, differing 
from the chancel of a Doric column only 
in being separated from its neighbor by a 
fillet. 

Foil — the lobe of a cusped circle or 
panel. A figure of three lobes (like a 
clover leaf) is called a trefoil, of four a 
quatrefoil, of five a cinquefoil, etc. 

Foliated — decorated with leaves. 

Fret. See Meander. 

Frieze — the member between the archi- 
trave and cornice of an entablature. See 
Order. 

Gothic — this Avord is sometimes used 
to cover the whole of medigeval architec- 
ture. In this book it is used in its com- 
moner and narrower meaning, of the 
pointed style, so-called, which prevailed 
in Europe from the xiii cent, to the xvi 
cent., expanding and develojoing the forms 
of the Romanesque, chiefly by means of 
the ribbed vault, the pointed arch, and a 
different style of decorative detail. It was 
brought into Italy in its earlier and purer 
forms by the Cistercian monasteries of 
central Italy, and in its later by German 
influence in northern Italy, where, espe- 
cially in Venice, it took on a shape quite 
different from the original. 

Gradinata — the steps or benches in 
the auditorium of a theatre or amphi- 
theatre. 

Groin. See Vaults. 

GuiLLOCHE — a continuous flat orna- 
ment, formed of interwoven bands of fil- 
lets leaving round interstices which are 
usually filled with rosettes. 

GuTT.E (drops) — small protuberances, 
like pegs driven up into the mutules 
or regulse of the Doric entablature. See 
Order. 

Gtn.eceum — the women's quarters in 
a Greek house. A woman's gallery in an 
early church. Cf. Empor. 

Headers — bricks or stones laid across 
a wall so that only the ends show. 



GLOSSARY 



Hexastyle. See Temple. 

Hood Mouldixg — a raised moiilding 
eucircliug the outside of an arcli or arched 
window. 

Hyp^ethrum — that part of the inte- 
rior of a temple or other classic building 
which was open to the sky, or lighted 
directly from it. A hypgethral temple 
was one which had a hypsethrum ; but 
there is mucli conflict among arcliseolo- 
gists as to how this was arranged; or even 
whether there were any such. 

Hypocaustum — a space contrived for 
heating the under side of a floor. 

IlYPOSCEXiOiSr — the front of a stage- 
platform in a theatre. 

IcoxosTASis — a close screen before the 
choir in a Greek church, corres^jonding to 
the rood-screen of an English church and 
the jube of a French church. 

I.MPLUViUiE — a depression to receive 
rain-water in the court of a Greek or 
Eoman house. 

Impost — the level wliere an arch rests 
on its vertical support. It is usually 
marked by a block, plain or moulded, and 
this block is itself often called the impost. 

Intrados — the under concave surface 
or soffit of an arch. C'f. Extrados. 

Ionic. See Order. 

Iso DO Jiic— built of uniform stones, and 
bonded like a common brick wall of 
stretchers. 

Joggled — notched together to prevent 
slipping. 

Jube — the rood-screen in a French 
church. Cf. Icotwstasis. 

Label — a projecting moulding which 
surrounds the upper part only of a door 
or window opening, a hood-mouhling. 

LACONicrM — a hot-bath ehan\ber. 

Lacunar — a. coffer in a ceiling. 

Lancet — a tall narrow pointed Avindow. 

Lararium — a chapel or shrine in a 



Roman house containing the effigies of 
the Lares or household divinities. 

Latin — the Latin form of church is 
the early basilican, develoj)ed in the time 
of Constantine (begiiming of the iv cent.) 
or earlier, and used in and about Rome till 
the XII. It is not properly cruciform, 
but T-shaped, having no eastern arm ; the 
nave does not penetrate the transejpt, but 
abuts against it. 

Lintel — a horizontal beam covering 
an opening. 

LocuLUs — a recess in a wall. 

Logeion — a box of a classic theatre. 

Loggia — a recessed gallery. 

Lombard — the style of the early 
churches of northern Italy, so called be- 
cause it was believed to have been intro- 
duced and developed under the Lom- 
bard kingdom, but really later than that 
kingdom. It was a form of Romanesque, 
characterized by cruciform plans, the early 
application of vaulting, clustered piers, 
the system of double bays in which the 
two bays of the aisles correspond to one of 
the nave, and an exterior decoration Avith 
pilaster-strips, arched corbel-tables, eaves- 
galleries, ai\d vaulted porches borne by 
lions. It owed its character to German 
influences, and was much the same as the 
monastic style which was developed simul- 
taneously in mid-Germany. 

Lunette — a wall-arch cutting into a 
vault or cove, and often filled with a half- 
round window. Such a window is some- 
times called a lunette. 

Machicolations — holes betAveen brack- 
ets in the soffit of an oA'erhanging cornice, 
left open for the purpose of dropping mis- 
siles, hot pitch, or the like, upon an at- 
tacking enemy. The term is sometimes 
confusedly applied to tlie brackets Avhich 
sup[)ort the cornice. 

Matroneo — a Avoman's gallery. Of. 
Gi/iKeceuin. 

Meander — a Avavy line or scroll, con- 
tinually reversing, in Greek decoration ; 



GLOSSAEY 



when the loops of the meander are made 
of broken straight lines it is called a 
fret ; the words are often carelessly inter- 
changed. 

Merloks — the solid ujjright slabs of a 
battlemented parapet. 

Met A — the monument which marked 
the goal or turning point of the race- 
course in a circus. It was commonl}^ an 
obelisk or group of obelisks set on the 
spina. 

Metope. See Order. 

MEZZAifiisrE — a half-story between two 
full stories, loosely applied also to a half- 
story above a full story. 

MiHRAB — a prayer-niche in a mosque. 

MiMBAR — a pulpit in a mosque. 

MoDiLLiON — tlie bracket of a Corin- 
thian cornice. 

MuLLiON — an upright bar, often a 
shaft, dividing a window. 

MuTULE. See Order. 

Narthex — a porch or ante-room across 
the front of a church, used in the early 
Church by the catechumens or others 
who were not allowed to enter the body 
of the church. 

Naumacht — a mock naval battle ; also 
the arena in which such a battle was held. 

Nave — the chief and central aisle of a 
church, wider thaii the rest and usually 
higher. 

Nook-shaft — a shaft set in a rectan- 
gular recess or nook. 

Ntmph^um — a shrine or chamber, fre- 
quently subterranean or half subterranean, 
dedicated to nymphs and supplied with 
running water. 

Octosttle. See Temple. 

OcTTLUS — a small round window. 

Odeum — a small theatre under roof, for 
music. 

(Ecus — the state chamber of a Roman 
house. 

Ogee — a reversed curve. See Cyma. 

Omphalos — a sacred stone in the 



temple of Apollo at Delphi, believed to 
mark the centre of the world. 

Opisthodomos. See Temple. 

Opus Alexandrinum — mosaic made 
of pieces of natural marble or stone cut to 
shape and laid in a decorative pattern ; 
called also opus sectile, used almost exclus- 
ively for floors. 

Opus Incertum — uncoursed masonry 
or rubble. 

Opus Quadratum — squared masonry. 

Opus Eeticulatum — masonry faced 
with small squared stones set corner-wise 
so as to show diagonal joints. 

Opus Sectile. See Opus Alexandri- 
num. 

Opus Signinum — a strong hydraulic 
cement used for lining aqueducts and 
other like purposes. 

Order — the unit of classic architec- 
ture, comprising the column and its entab- 
lature, and called Tuscan, Doric, Ionic, Co- 
rinthian, or Composite, according to its 
details. The column consists of base, 
shaft, and capital. The entablature com- 
prises the Architrave or lintel, which rests 
upon the columns and is cut in one, two, 
or three flat bands, its top marked by a 
projecting moulding ; .the Frieze, a high 
band either plain or decorated ; and the 
projecting Cornice, supported by its Bed- 
moulding and sometimes by brackets, and 
ending in a Cymatium or Crown-mould- 
ing. The Doric, Ionic, and Corinthian 
orders are both Creek and Roman, though 
the Corinthian was fully developed only 
under Roman influence. The Greek 
Doric is heavy and massive : it has no 
base, a channelled shaft, and a cajjital 
with a heavy square abacus sup2)orted 
by an oval moulding called the Echi- 
nus. Its frieze is decorated Avitli flat 
channelled blocks called Triglyphs, whose 
feet seem to overhang the architrave in 
small horizontal bars called Regulje, dec- 
orated with drops or Guttae, and between 
which are square panels called Metopes, 
often charged with sculpture. The over- 



GLOSSAKY 



hang of the cornice carries a flat block 
called a Mutule over eaoli triglyph, whose 
surface is studded with Guttte. The 
Eoman Doric is lighter. The columns 
have a base ; the architrave is lower 
and the frieze higher. The Ionic has a 
fluted column and a capital with large 
scrolls or Volutes at the corners and an 
echinus under them, a frieze plain or 
charged with continuous sculpture, and a 
cornice usually with dentils. The Corinth- 
ian has a fluted column, a high capital sur- 
rounded by two ranges of acanthus leaves 
with small volutes at the corners, a frieze 
like the Ionic, and a cornice enriched with 
dentils, brackets called Modillions, and 
carved mouldings. The Tuscan and Com- 
posite are Eoman only. The first is a sim- 
plified Doric, witliout channels, triglyphs, 
or mutules ; the second a somewhat sim- 
plified Corinthian, its heavier capital car- 
rying larger volutes and an echinus like 
the Ionic. Often an order stands on a 
pedestal-course or stylobate. {See Figs. 
32, 91, 133, 184.) 

Palestra — a place for wrestling — a 
wrestling-school. 

Palladia^ window — a group of three 
openings separated by columns or pilas- 
ters, tlie middk' one arched and the lateral 
ones square-headed. This has been called 
also the Palladian Motive. 

Parodoi — side entrances to the audi- 
torium of a Greek theatre, next the stage. 

Parvis — an open space or yard in front 
of a church. 

Patera — a round, flat, carved flower, 
used as an architectural ornament. 

Pedlmekt — the gable of a classical or- 
der or building. It lias invariably a hor- 
izontal cornice joining the feet of the rak- 
ing cornices. 

Pkntdentive — a kind of cove cover- 
ing the corners of a square area, so as to 
leave only a circular or polygonal space 
unroofed. It is commonly a piece of 
vaulting, in shape a spherical triangle. 



resting on the flanks -of two arches on 
adjoining sides of the square, and lead- 
ing up from the angle to a ring which, 
supported by the four pendentives carries 
a dome (or its drum) that covers the 
central circle, so that the whole may be 
borne on four piers at the corners. {See 
Fig. 106.) 

Peperino — a hard granular volcanic 
stone. 

Pergola — the groups of windows, or 
arcade, opening on a balcony, which forms 
the central feature in the fronts of most 
Venetian palaces. 

Peribolos — the walled court in which 
a temple stands. 

Peripteral. See Temple. 

Peripteros — a colonnade surrounding 
a building. 

Peristyle — a colonnade about a build- 
ing or a court. 

Piano kobile — the chief story. 

Pilaster — a rectangular pillar in clas- 
sic style, usually engaged in a wall. 

Piscina — a basin. 

Plinth — the lower flat upright meni- 
l}er of a group of mouldings at the base of 
a column or wall. 

Podium — the lower division of a wall, 
or basement. 

Precinction — a horizontal passage or 
circuit among the seats of a theatre or 
amphitheatre, the Greek diazoma. 

Presbytery — that part of a church 
which is occupied by the priests during ser- 
vice — usuallv applied to the early churches. 

Pronaos. See Temple. 

Propi^l.eum (plural, Propyltea) — a 
monumental colonnaded gateway, as, for 
instance, that of the Acropolis at Athens. 

Pro PYLON — an advancing structure cov- 
ering or flanking a gateway. 

Prostyle — applied to a temple which 
has a portico at one end. See Temple. 

Prothesis : One of the two small rooms 
like sacristies that flank the main apse of 
an early Byzantine church. See also Dia- 
conico)i. 



GLOSSAEY 



Pteroma — the colonnaded gallery that 
surrounds the cella of a peripteral temple. 

Purlin" — a horizontal cross - timber 
which suj)ports the rafters of a roof. 

PYCiS'OSTYLE — ^liaving columns set very- 
near together. 

Pyloi^ — a gate-house. See also Tetra- 
pylon. 

Pyrgos — a bastion. 

QuATREFOiL. See Foil. 

Quoixs — contrasting cut stones which 
form the angle of a wall of brick or stone. 
They are often simulated in brickwork. 

Eamp — an ascending line of stairway. 

Regul^. See Order. 

EexaissAjSTCE — the name given to the 
revival of classic forms in art which fol- 
lowed the revival of classic literature, and 
in the course of the xv and xvi cents, 
changed the whole aspect of art in Eu- 
rope. The Eenaissance in architecture 
began in Italy, in the middle of the xv 
century. In its earliest phase, which is 
sometimes spoken of par excellence as the 
Eenaissance, it showed itself in the free 
application of classic detail to medieeval 
forms. In the xvi cent., the period of 
what Germans have called the High Ee- 
naissance, there was a minute study and 
loyal adaptation of all the forms of Eoman 
architecture to new buildings, which be- 
came purely classical in proportions and 
detail. By the middle of the xvii cent., 
Eenaissance architecture had degenerated 
into what is called baroco, or baroque, in 
which purity of form and detail is sacri- 
ficed to picturesque effect ; and in the 
course of half a century more this had 
passed into the so-called rococo, in which 
there prevailed a wild perversion and cor- 
ruption of architectural features, small 
and great. 

Eeredos — an architectural screen, or 
facing of a wall, behind an altar. 

EespOjSTD — a half pillar set against a 
wall, corresponding to a pillar opj^o- 



site, as in aisles of churches ; hence its 
name. 

Eeticulated. Of. Ojms Reticulatum. 

Eevet — to encase a rough wall with a 
smooth facing of masonry or slabs. 

EiB. See Vaults. 

RiXGHiERA — an outside balcony used 
for public proclamations. 

Eococo. See Renaissance. 

EoiiANESQUE — ■ a name given to the 
style of architecture which in western 
Europe followed the decay of the classic 
styles, beginning obscurely in the vi or 
VII century. It abandoned the classic 
orders, substituted the arcade for the col- 
onnade, and was the nurse of the typical 
mediaeval forms of clmrch-building in the 
Avest, which it developed out of the Eoman 
basilica, evolving a consistent system of 
vaulting, and furnishing most of the feat- 
ures which in altered shape were charac- 
teristic of the Gothic architecture that 
followed it in the xiii century. 

Rood Screen — the English name for a 
screen which cut off the choir of a church 
from the nave, and which carried a raised 
cross called the Eood. It corresponds to 
the Greek Iconostasis. 

EoujfDEL — a round panel, usually con- 
taining sculpture. 

EusTio or rusticated masonry is cut in 
squared projecting blocks, whether smooth 
or rough - faced, with the joints deeply 
channelled. 

Scotia — a hollow moulding whose sec- 
tion is the half or more of a circle or oval. 

Sekos — the inner chamber or sanctu- 
ary of a Greek temple. 

Sgraffito — an ornament wrought in 
plaster, after the manner of a cameo, cut- 
ting through or scraping oif an outer layer 
and exposing an inner layer of a difEerent 
color. 

Soffit — the under side of an arch, 
beam, or horizontal member. 

Spandrel — the triangular sjjace over 
the flank of an arch. 



GLOSSARY 



Sphendone — the semicirciilar end of 
a stadium or circus. 

Sphekisteriois" — a court for ball-play- 
ing. 

Spina — the longitudinal wall which 
divides the direct course from the return 
course in a hippodrome, circus, or sta- 
dium. 

Squinches — arches which bestride the 
corners of a square, cutting it down to an 
octagon, to carry a dome or drum. 

Stadium : A course for runners. 

Stele — an upright slab, commonly used 
for a funeral monument, and carved. 

Stereobate — the foundation -platform 
of a temple or other classical building. 

Stilt-block — a block, usually mould- 
ed, set between the abacus of a column 
and the arch which it bears. 

Stoa — an open colonnaded portico. 

Stretchers — bricks or stones laid 
lengtliAvise in a wall. 

String-course — a carved or moulded 
course which divides a wall horizontally. 

Stylobate — the architectural member 
on which a colonnade rests ; thus, in Greek 
architecture the upper step of the stereo- 
bate of a temple ; later, a low wall carrying 
a colonnade, and usually finished with a 
moulded base and capping ; still more gen- 
erally, by analogy, the lower division of a 
wall, finished like the stylobate of a colon- 
nade. 

Sudatorium — the heated room of a 
bath, used for sweating. Cf . Caldarium. 

Tablinum — the family-room of a Ro- 
man house, Avhere family records and por- 
trait busts were kept. 

Tambour — the drum which carries a 
dome. 

Temexos — the sacred enclosure about 
a Greek temjile or temples. 

Temple — Tlie usual plan of a classical 
temple was an oblong rectangle. It con- 
sisted of a closed building called the cella, 
more or less surrounded by porticoes. 
The heart of the cella was the Naos ; at the 



front end was usually an open vestibule 
called the Pronaos, and in the rear often 
a small corresponding room, sometimes 
accessible only from without, called the 
Opisthodomos, or Posticum. The jaroject- 
ing ends of the side walls of the cella were 
faced with ^^ilasters called Antae, and col- 
umns set between these are said to be in 
antis, a designation which is often extended 
to the temple so built itself. The temples 
commonly fronted east with the long sides 
facing north and south. They were always 
roofed with a ridge, and crowned at each 
end with pediments, which commonly 
overhung at one end at least, supported 
by colonnades and forming open porticoes. 
A temple with a portico at one end was 
called prostyle ; at both, amphiprostyle. 
One surrounded by a colonnade was perip- 
teral, and the colonnade became a peri- 
style. When the columns were in a double 
range all round, the temple was dipteral ; 
it was pseudo-dipteral when the columns 
M'ere spaced as for a dipteral temple, but 
witli the inner range suppressed, and 
pseudo-peripteral when the peristyle was 
engaged in the side walls of the cella. 
There were also round temi3les, surround- 
ed by a colonnade. When these had a 
cella they were peripteral : when they 
were open they were monopteral. Tem- 
ples are also classed according to the num- 
ber of columns in the end porticoes ; when 
these are four, the temple is tetrastyle ; 
when six, hexastyle ; when eight, octo- 
style ; when ten, decastyle, the number 
being always even, except in very rare in- 
stances. 

Tepidarium — a warm room of a bath. 

Tetra pylon — a gate-way penetrated 
by two intersecting passages, and showing 
arches on four faces. 

Therm/E — public baths. 

TnOLOS — a small round building in 
Greek architecture. 

Thymele — a small altar to Dionysos in 
the middle of the orchestra of a Greek 
theatre. 



GLOSSAEY 



Torus — an annular moulding of semi- 
circular section ; a roll moulding. 

Tracery — the open-work filling of a 
window^, archway, or otiier opening. It is 
usually comjDosed of intersecting bars of 
stone or other material ; but sometimes is 
a perforated slab, in which case it is called 
plate - tracery. In most cases it is con- 
fined to the arch itself, or the upper part 
of the opening, and supported below by 
upright bars called muUions. 

TrajSTSEPT — the cross-wing of a basilica 
or church. The two arms constitute one 
transept, but are often spoken of as north 
and south transepts. There are a few 
churches which have actually two tran- 
septs. 

Transom — a horizontal bar across a 
window. 

Trefoil. See Foil. 

Triclinium — the dining-room of a 
Greek or Roman house. 

Triforium — an arcade pierced in the 
nave wall of a church above the principal 
arcade and below the clerestory. In cer- 
tain churches an open gallery takes the 
place of a triforium. See Emjyor and 
Gynceceum. 

Triglyph. See Order. 

Tunnel-vault. See Vaults. 

Tympanum — the flat piece of wall that 
fills an arch or pediment. 

Vaults — A Barrel-vault is a half cyl- 
inder ; when it forms a ring, or part of 
one, it is an Annular vault. It is a com- 
mon form of Eoman vault, and is then 
usually a solid shell of concrete, sometimes 



strengthened by chains of brickwork, but 
is occasionally of cut stone. A Tunnel- 
vault is the same as a barrel - vault, but 
is sometimes pointed in section. Groined 
vaults, or cross-vaults, are vaults which 
intersect, forming salient edges called 
groins, as when two aisles or galleries 
cross. A Cloistered vault is a square dome, 
or a vault over a rectangular room, closed 
in on all sides. Projecting Eibs strengthen 
the angles or soffits of vaults. The rib 
against the wall that closes the end of a 
vault is called the Wall-rib ; those that 
strengthen the groins are Diagonals ; 
those that simply cross the soffits are 
Transverse ribs. Only transverse ribs are 
found in Eoman vaults, and these rarely. 
Eibs came into use in later Eomanesque 
vaults, and are universal in Gothic. A 
band which does not project is not a rib. 

Vaulting-shaft — an engaged column 
which supports the ribs of a vault and 
springs sometimes from the ground, some- 
times from a capital or corbel above it. 

Velum — an awning. 

Venetian window — same as Palla- 
dian window. 

Volute — a spiral banded ornament 
used on the corners of Ionic or Corin- 
thian capitals, on the sides of modillions, 
and in some other places. 

VoMiTORiA — exit passages in a tlieatre 
or amphitheatre, descending under the 
seats. 

VoussoiRS — the wedge-shaped stones of 
an arcli or vault. 

Wall-rib. See Vaults. 



A CYCLOP/CDIA OF WORKS OF 

ARCHITECTURE 

IN 

ITALY, GREECE, AND THE LEVANT 



A CYCLOPAEDIA OF 

WORKS OF ARCHITECTURE 

IN ITALY, GREECE, AND THE LEVANT 



ABBIATECtRASSO, near Milan, Italy. 

Sta. Maria is a plain old claurch, which 
is conspicuous for the fine porch added by 
Bramante, it is said, in the xv cent. ; it 
stands in the corner of an open space, like 
an atrium, which is lined with an arcade, 
and adjusted in its design to the church 




Fig, I. — Abbiategrasso, Church. 

fagade. Against the plain brick front of 
the XIV cent., with a single great gable 
covering both nave and aisles, is built a 
projecting porch to the full height of the 
nave, which it covers. It is a huge arch, 
two stories in lieight, l)orne on advancing 
walls which are faced with two superposed 
orders of coupled C'oriuthiau columns. 



The side walls, pierced with arches into 
the adjoining arcades, are panelled with 
reliefs, and the orders are continued in 
pilasters which flank and surmount the 
door of the nave at the back of the arch, 
with niches and reliefs in their inter- 
columniations. The porch, which bears 
the character of Bramante's work in and 
about Milan, was built by him, according 
to M. Geymuller, in 1477, according to 
others, later. {See Fig. 1.) 
ABU-GOSII (anc. Kirjath Jearim), near 
Jerusalem, Palestine. 
St. Jeremiah, a Crusaders' church 
now in possession of the Latins, and ap- 
parently of the XII cent., is remarka- 
bly well preserved. It is a rectangle 
57 ft. by 86 ft. outside, and consists of 
a nave and aisle of four bays, ending in 
three apses hollowed out of the thick, 
straiglit eastern wall. Its architecture has 
many Eastern peculiarities. The nave 
and aisles are of nearly equal breadth and 
hciglit, tlie bays almost square ; the pointed 
arch, used througliout, is broad and low, 
the groined vaulting of singularly low 
pitch, the aisle roofs flat, leaving room for 
small clerestory windows in tlie lunettes 
of tlie nave ; the plain piers square and 
slender, without capitals or moulded bases. 
The exterior is very plain. There is a 
vaulted crypt, or ratlier under-church, ar- 
I'anged on the same plan as tliat above, and 
apparently underlying the whole. Ujiper 
and lower church were once decorated with 



ACEEENZA 



painting, of which traces still remain. 
The earliest mention of the church is in 
the XVI cent., when it was in the hands 
of Franciscan monks. The ruins of their 
convent adjoin it. 
ACEKENZA, Italy. 

The Cathedral, dedicated to Sta. Maria 
Assunta, is an ancient Eomanesque church 
founded about 1050, but probably rebuilt 
later. It has a length of about 235 ft. 
and a breadth across transept of 135 ft. 
Its plan is more like that of the French 
Eomanesque churches of Auvergne than is 
common in Italy. It enters through a 
porch or narthex between two angle towers. 
The nave and aisles are covered by wooden 
roofs and are separated by arcades of five 
round arches sj^ringing from square piers, 
the aisles being divided by transverse arches 
into square bays. The transept is long, 
with sqiiare ends, and each arm has a small 
flat eastern ajDse and a stair-turret in the 
angle with the choir wall. The choir, 
raised high above the nave, is in a single 
square groined bay with a round aj)se and 
encircling aisle, with three apsidal chapels 
at the circumference. Beneath is a small 
crypt vaulted on four marble columns, and 
rebuilt early in the xvi cent. The ex- 
terior shows Lombard influence ; the win- 
dows are round-arched, the walls of choir 
and apses broken by pilaster strips ending 
in arched corbel-tables. The west front 
had originally three doorways. Only the 
central one remains ; it has a round bear- 
ing-arch formerly capped by a gable, and 
angle shafts carried on strongly projecting 
corbels with grotesque carving. The joints 
of the doorway are ornamented with grace- 
ful foliage in relief, having a touch of 
Byzantine character. Over the doorway 
is a fine rose window, with simple forms, 
the original columns now replaced with 
iron shafts. Of the two flanking towers, 
only the southern was finished. 
ADABASAE, Asia Minor. 

Bridge of Sopho^', built in 561 by 
the Emperor Justinian, and remaining 



in almost perfect preservation. It crosses 
the bed of the Sangarios, now dry, is 1,400 
ft. long, and has eight arches, each with 
a span of 75 ft. and with small arcades 
on each side. 
ADAM-KLISSI (Dobrudscha) , Eoumania. 

Trophy of Trajan, a massive circular 
tower of masonry, commemorating vic- 
tories over the Dacians, standing near a 
small Turkish village about twenty miles 
from Medjidie, and ten from the Danube. 
The sculptures are rough in character, 
but represent scenes from the camj^aigns 
of Trajan and give points of comparison 
with the reliefs of the Column of Trajan 
at Eome. The probable date is 109 a.d. 
ADEIANOPLE, Eoumelia, Turkey. 

The Mosque of Selim, the work of 
the famous architect Sinan, was built by 
the Sultan Selim II (1566-74). It is a 
building about 190 ft. wide by 160 ft. 
deep, preceded by a court-yard of nearly 
the same size which is surrounded by 
arcaded galleries on all sides, and has the 
usual fountain in the middle, under a 
marble kiosk. The galleries, with col- 
umns of rich stone and marble, are groin- 
vaulted, and across the front of the 
mosque proper form a porch broken by 
three high pointed arches. The main feat- 
ure of the mosque, the great central dome 
of some 90 ft. span, and higher, it is 
said, than the dome of Sta. Sophia, rests 
on eight great octagonal porphyry piers. 
The entrance iJorch, and a large project- 
ing sanctuary, in the back of which is 
the mihrab, or prayer niche, serve to 
buttress the dome in front and rear, while 
the huge side buttresses inclose rooms, 
and with the side piers supjjort lateral 
galleries for the sultan and his suite, and 
for women. The interior is lavishly dec- 
orated with painted tiles, coloi-ed glass, 
and polychrome. A high minaret -sNitli 
galleries or balconies is set on each corner 
of the building, and various dependencies, 
schools, hospitals, and others, are grouped 
about it. {See Fig. 2.) 



^GAE 



^GAE (Aigai, Nimroud-Kalessi), yEolia, 
Asia Minor. 

Fortifications. The walls bear wit- 
ness to repeated enlargements of the city. 
The nucleus is a triangle, on the highest 
part of the hill, with traces of an acropo- 
lis at the southern angle. The 
masonry is of rough polygonal 
blocks with gates and towers. 
The wall on the S. W., in places 
exposed to attack, is strength- 
ened by a Hellenistic facing-wall 
l)laced some feet in front of it, 
built of very careful rectangular 
masonry in large blocks. Still 
later walls on the S. W. are 
strengthened with circular tow- 
ers from 20 ft. to 27 ft. in diam- 
eter. 

Makket House, on the N. E. 
side of the highest terrace. The 
length of the main fa9ade is 270 
ft. ; that of the northern facjade, 
whore there is an L, 8S ft. ; and 
the width of the building, 37 ft. 
The main wall in three stories 
still rises to a height of 33 ft. 
and is of IFcllenistic date, of ad- 
mirable execution. The lowest 
story is divided into a double se- 
ries of chambers, about 14 ft. square, with 
doors and windows contracting toward the 
to]). The front chambers toward tlie 
north, over the precipice, have merely 
very small rectangular openings for light 
higli up in the M-all. The middle story 
appeai-s to have had a line of arches run- 
ning down the middle, and was lighted 
by small and sparse openings in the wall 
between the ceiling beams. The upper- 
most story was essentially an open portico, 
with a range of Doric columns and entab- 
lature. On this side the ground lay much 
liigher, and there was inunediate access to 
the jjortieo from the open air by stei)s. 
Tbe roof was supported by an interior 
range of columns spaced at double the in- 
tercolumniation of the outer rans'e. The 



front wall and the lower parts of the build- 
ing seem due to the iii cent. B.C., while 
the upper portico was a restoration of Ro- 
man imjierial date. 

Stadium, forming a terrace by itself S. 
W. of the theatre and further down the 




Great Mosque, 



slope. The level area is about 740 ft. long 
and 05 ft. wide. The M'est side is sup- 
ported by a massive retaining- wall of polyg- 
onal style but built of large blocks very 
nearly quadrangular and carefully fitted. 

Stoa or portico on the west side of the 
agora teri'ace, opposite the market. It was 
about 37 ft. deep and had an inner range 
of columns with curious capitals formed of 
hanging tongue-shaped leaves. The en- 
tablature is remarkable for a widely pro- 
jecting cornice with panelled soffits, and 
has on the inner side corbels cut in the 
form of ox-heads to receive the roof-beams. 

TEiirLE, at the western extremity of the 
inner triangle of the city, on a terrace above 
the theatre. The foundations of the cella 
show that it either was double or had a 



^GINA 



very deep iDronaos. The temple was Doric 
and of late date, with probably six columns 
on the fronts and twelve on the flanks. 
The terrace was skirted on the IST. E. and 
S. E. sides by a large two-storied portico 
about 21 ft. deep, with Doric columns be- 
low and Ionic above. The angles of Junc- 
tion, both above and below, were occupied 
by square pillars with the sharp edge 
turned toward the interior, and with two 
semi-columns engaged in the faces corre- 
sponding to the exterior columns. The wp- 
per story had a parapet of j^anelled slabs. 

Temple of Apollo Chresterios (ren- 
dering oracles), dedicated about 40 B.C. by 
the Proconsul P. Servilius Isauricus. It 
was Ionic, with fluted columns about 24 
ft. bigh and an inner range of smaller 
columns before the cella. The frieze was 
ornamented with carved garlands and 
bucrania ; the dentilled cornice was richly 
moulded. The great doorway of the cella, 
formed of three monolithic blocks and 
over 20 ft. high, still stands. 

Theatre, on the slope S. W. of the 
inner triangle of the city. There are but 
scanty remains of the seats of the cavea, 
which is less than a quadrant ; the wings 
are supported upon very massive and care- 
fully executed vaulted substructions, which 
are so carefully flnished as to indicate that 
the public had access to them, perhaps as 
an entrance to the illazoma or horizontal 
passage of the cavea. The chief wall of 
the stage-structure is still standing ; it 
is 73 ft. 6 in. long, pierced symmetrical- 
ly with three doors, and had decorative 
pilasters, columns, and entablatures of 
marble. Behind the wall there was a hall 
which may have been subdivided. The 
stage-structure is supported upon extensive 
vaults, owing to the slope of the ground. 
^EGINA (Aigina), Greece. 

The Temple of Aphrodite (Venus), 
near the harbor, was larger than the Tem- 
ple of Athena, the stylobate being about G2 
ft. by 114 ft. It was Doric and hexastyle ; 
the columns are 3f ft. in diameter, and 



25 ft. (nearly six diameters) high. One 
only is now in place, though in Chand- 
ler's time two, with a piece of architrave, 
were still standing. They have twenty 
channels, and capitals almost identical 
with those of the Temple of Athena. The 
material is a friable yellowish limestone. 

The Temple of Athexa (Minerva) is 
situated near the sea, on a hill at the 
N. E. end of the island. It was probably 
not finished earlier than the first quarter 
of the V cent. B.C., and Avas formerly 
supposed to be that of Zeus Panhellen- 
ios. In 1811 some English and German 
architects — Cockerell, Foster, Linkh, and 
Haller — made excavations which discov- 
ered the famous iEginetan marbles, at 
least eleven in number, now in the Glyp- 
totliek, Munich, and restored by Thorwald- 
sen. They are, though archaic, among 
the most valuable remains of Greek sculjDt- 
ure. The temple was built of soft jioros 
stone, covered with a thin layer of stucco ; 
it is Doric, hexastyle, peripteral, on a stylo- 
bate of three steps, with twelve cplumns 
in each flank and two between antje in 
the pronaos and opisthodomos. The sty- 
lobate is 94 ft. by 45 ft. ; the cella, raised 
on two steps, 72 ft. by 26 ft. outside. 
Columns, with twenty channels, have a 
lower diameter of 3 ft. 2 in. and a height 
of 17 ft. 3 in. The columns are inclined 
inward toward the cella ; their taper is 
marked and they show but little entasis. 
The capitals, like the mouldings and all 
the architectural members, are somewhat 
heavy in proj^ortion. The entablature is 
6 ft. 9 in. The cella is divided into 
three aisles by double ranges of five col- 
umns each ; diameter of lower range at 
the base, 2 ft. 3 in. ; height, 12 ft. 1 in. 
The two ranges of columns were sepa- 
rated by an architrave bearing the usual 
Doric taenia with its regulae and guttaa, 
but no frieze. The floor pavement was 
covered with red stucco. The architraves 
bear traces of red color, the tympana were 
painted sky-blue, and the triglyphs in the 



^SEENIA 



same color ; the marble cyma bore the 
sea-lily ornament painted in red, blue, and 
yellow. The platform on which the tem- 
ple stands is terraced on all sides. The 
spaces between the peristyle columns were 
closed by a grating of metal. Beneath is 
a cave, which may extend under the cella. 
yESEKNIA. See Isernia. 
^ZANI (Aizanoi), Phrygia, Asia Minor. 

Akciext Jewish Temple, consisting 
of a great cloistered or colonnaded en- 
closure, similar in disposition to that of 
Jerusalem, and within this a shrine in the 
form of a small Roman peristylar temple. 

Temple of Zeus Panhellenios (Ju- 
piter of all the Greeks). The remains 
comprise twelve columns on the north and 
six on the west, standing, and a large part 
of the cella. The temple stood on a sty- 
lobate of five steps in the iniddle of a 
quadrilateral terrace, 520 ft. by 485 ft. 
surrounded by a splendid Corinthian col- 
onnade, about 270 ft. by 190 ft., the col- 
umns of which were 17 ft. 8 in. higli, by 2 
ft. 2 in. through. It was Ionic, octastyle, 
pseudo-dipteral, with fifteen columns on 
each flank ; its stylobate was 121 ft. by 72 
ft., the cella 79 ft. by .35 ft. The cella 
had two composite columns between antiB 
at each end, and under it, reached by a 
stairway in the opisthodomos, is a subter- 
ranean hall or crypt 30 ft. l)y 50 ft. 

Theatre, in the soutliern part of the 
town, in part excavated from a hill, and 
facing 8. W. It is a Roman building, 
thougli with Greek features. The lower 
division of seats (sixteen tiers) up to the 
diazoma or horizontal passage survives ; 
the seats of the upper division are gone, 
but the enclosing-wall and other founda- 
tions remain. The exterior diameter is 
380 ft. ; that of tlie orchestra, 128 ft. ; 
the depth from the front of the prosceni- 
um to the back of the cavea, 178 ft. ; the 
leugtli of the stage-structure, 156 ft. The 
main wall of the stage-structure was deco- 
rated with six pairs of coupled Ionic 
columns supporting a rich entablature. 



Behind the high back Avail or coping of 
the diazoma is a series of chambers sepa- 
rated by coupled niches ; it is conjectured 
that these were for the echea or acoustic 
vessels described by Vitruvius. The 
upper border of the cavea was surrounded 
by a portico. The material is white mar- 
ble ; the foundations of the proscenium 
are limestone encased in marble. 
AGLASOUN. See Sagalassos. 
AGLIATE, Italy. 

The Church is an ancient Lombard 
basilica of the Latin type, said to have 
been built by Anspertus, Archbishop of 
Milan, about 881, with nave and aisles 
covered with wooden roofs, the nave 
about 80 ft. long and 2G ft. broad, with six 
simple round arches on either side carried 
on columns of which all but that nearest 
the choir have moulded capitals like in- 
verted bases with stilt-blocks. On each 
side the easternmost arch is of double width, 
giving somewhat the effect of a transept, 
as in S. Yincenzo ed Anastasio at Rome. 
This may be an early alteration. The nave 
ends in a raised choir with a single oblong 
bay covered by a barrel-vault and a round 
apse, and the aisles end in a similar way. 
Beneath the choir is a fine cr3'pt with three 
aisles, separated by columns and arches into 
vaulted bays. The exterior is very simple, 
and tlie walls are of rude stone rubble. 

To the south of the church stands a 
Baptistery of rude construction and de- 
sign of which the plan is an irregular poly- 
gon of nine sides, from the eastern two of 
which projects a semicircular apse with 
an altar. 

AGRIGENTUM. See Girgenti. 
AGYLLA. See Cervctri. 
AIGAI. See ^gae. 
AIGINA. See ^gina. 
AIN HERSHA, Syria. 

RoMAX Temple, almost complete ex- 
cept the roof. It is 39 ft. by 26 ft., in 
anfis, on a basement which on the west 
side is 7| ft. high. The height from base- 
ment to cornice is 19 ft. Tlie cella is sur- 



AIZANOI 



rounded in the interior by a cornice, and 
has four Ionic columns with Attic bases 
engaged in its west wall. The door is 
beautifully ornamented. 
AIZANOI. See jEzani. 
AKRAGAS. See Girgenti. 
AKEAIPHIAI. See Mount Ptoon. 
ALATEI (anc. Alatrium), Italy. 

The Fortifications (pre-Roman) are of 
large polygonal blocks, massive and im- 
posing. At the summit of the hill there 
is an oblong acropolis, about 2,000 ft. in 
circuit, with polygonal walls which at the 
S. E. angle rise to a height of 50 ft. 

Tuscan Temple, the foundations of 
which survive at about a kilometre beyond 
the Porta San Pietro. The small temple 
was prostyle, with two columns before the 
antse. The capital of one of the columns, 
of an uncanonical Tuscan profile, survives, 
having served near by as a millstone ; and 
both column-bases of the pronaos remain 
in position. A posticum appears to have 
been added at a later date, which copied 
closely the dimensions and details of the 
pronaos. 

ALBA FUCENTIA. See AlU. 
ALBAISTO (anc. Albanum), Latium, Italy. 

Temple of Minerva, 
identified in the round 
building, now. the 
Church of Sta. Maria 
della Rotonda, at the 
west angle of the pr*- 
torian camp. There are 
carved acanthus leaves 
on the door-jambs, part 
of a fine frieze, and 
some niches, which are 
certainly ancient. 

Tomb of Aruns, so- 
called, near the city gate. 
It consists of a base of 
masonry 49 ft. square 
and 24 ft. high, with 
basement and dentil- 
cornice, supporting 
a cone of masonry 2G ft. pig. 3.-Aibe, s. pietro. 



in diameter in the middle and four smaller 
cones at the angles. The cones and one 
side of the base are now in part ruined. 
From the mouldings it appears, despite 
its superficially Etruscan character, to be 
of somewhat advanced Roman date. 

Albano still shows many remains of 
the villa of Domitian, which was built 
there, on the ruins of that of Pompey, 
including those of the amphitheatre, prge- 
torian camp, and baths about it. 
ALBE (anc. Alba Fucentia). 

The Basilica of S. Pietro is one of 
the finest monuments of early Christian 
architecture outside of Rome. Its site 
was first occupied by a Pelasgic temple 
whose foundations, perhaps contemporary 
to the foundation of Rome, or anterior, 
are foundations of the church. The 
Pelasgic open-air temple was succeeded 
by a Roman temple, of a good imperial 
period and style, which was in its 
turn converted early in the v cent, into 
a Christian basilica. The cella walls 
and the columns of the pronaos were 
used, and the columns of the nave were 
brought from the ruins of some other 
pagan structure. This early church, re- 




ALEXANDKIA-TROAS 



stored at various times in the xi, xii, and 
XIII cents.;, is now a simple basilica with a 
porch, three aisles, no transept, and a sin- 
gle apse. Its interior measures 75 ft. by 
35 ft. The width of the naA^e is nearly 
15 ft., that of the aisles 12 ft. The six- 
teen columns bearing round arches that 
divide the nave from the aisles are fine 
lofty examples of Roman Corinthian in al- 
most perfect preservation. Their great 
height has led to the very unusual arrange- 
ment of having no clerestory, the aisles be- 
ing nearly as high as tlie nave, whose flat 
wooden roof is but little above the main 
arches. The result is a hall-church which 
must have been very effective wlien the 
walls were covered with the fine frescoes 
of whicli a number still remain. Tlie 
choir was raised in the xii-xiir cents. 
and the front of its steps decorated with 
a marble choir-screen inlaid with mosaics. 
At the same time the present apse was 
built of fine stone-work, and the adjacent 
outer walls rebuilt in the same manner, 
contrasting with the original Uoman brick- 
work toward the front, which still re- 
mains. The porch and the carved door- 
way with its doors of sambuco wood 
covered with low reliefs remain from the 
XI cent., although the porch and fa9ade 
were remodelled during the Renaissance. 
{See F{(j. J.) [A. L. F., Jr.] 

The extensive Fortification Walls 
are among the most perfect examjjles of 
such ancient works in Italy. They show 
different epochs, tlie greater part l)eing of 
massive but somewhat rough polygonal 
masonry, while the remainder consists 
of a facing of very careful polygonal work, 
with a rubble filling. Tliere are several 
towers, also ruins of an amphitheatre, a 
theatre, baths, a basilica, temples, etc. 
ALEXANDRIA-TROAS, Asia Minor. 

Baths, erroneously identified by Tex- 
ier, in the Ionian Antiquities, by Dunn, 
etc., as a gymnasium. The building, 370 
ft. by -iOo ft., is divided into a series of long 
halls on three sides, enclosing a number 



of smaller chambers. There was a monu- 
mental entrance in the middle of the east 
front. The outer walls were in large 
blocks of shell-limestone ; the inner walls, 
in opus incertiim of small stones and 
mortar, were clothed Avith thin slabs of 
various-colored marbles. The vaults were 
decorated with glass mosaics, and the 
pavements with pebble mosaics. In their 
plan these baths seem to fall between 
the simple Greek baths and the more 
elaborate Roman therniEB. The character 
of the masoiiry and ornament, resembling 
that of the Odeum of Herodes at Athens, 
seems to fix their date as the time of Had- 
rian. 

Much of the Walls remains, and the 
ruins of the city are spread over a large 
space. The ruins of the Roman thermae 
are important, as are also those of an aque- 
duct built by Hadrian to bring water from 
Mount Ida. 

ALINDA (Demirdji-Deressi), Caria, Asia 
Minor. 

Market-house, on the west side of the 
terrace which constituted the ancient 
Agora. It is in plan 33G ft. by 31 ft., 
and had three stories, the lowest divided 
into a front aiul a rear range of chambers. 
The middle story was lighted by a double 
series of small horizontal and vertical slits 
cut in the wall near the ceiling, which 
Avas supported in the middle by a central 
range of square piers Avith a Doric semi- 
column on each side. The uppermost 
story, on a level Avith the Agora, formed 
a portico, open certainly toAvard the Ago- 
ra, and perhaps on both sides. It had 
a central longitudinal range of unfluted 
columns. This building is to be com- 
jiared Avith the similar market-house of 
^'Egae. 

Theatre, in admirable preservation. 
The auditorium is practically complete ; 
it terminates above in a passage surrounded 
by a plain Avail. The diameter is about 
2'Zb ft. There are remains of the stage- 
structure, including loAV piers, Avhicli 



ALME^^Tv^O 



appear to have supported a stage of 

wood. 

ALMEA^NO, Italy. 

S. ToMMASO iJs^ Limine, a small but 
interesting Lombard cburcli just north 




Fig. 4. — Almenno, S. Tommaso in Limine. 

of Bergamo. It is circular, Avith a long- 
projecting choir ending in an apse. The 
exterior shows a high circular aisle, above 
the roof of which rises the clerestory of 
the central division. The walls are di- 
vided by numerous slender engaged col- 
umns, ending in an arched corbel -table 
under the cornice and with round-headed 
windows between them. The interior has 
a central domed nave, and the aisle is in 
two vaulted stories, separated from it by 
simple round arches, resting on eight col- 
umns in each story. Authorities differ 
widely as to the date of this church, the 
local antiquaries assigning to it an origin 
as early as the v cent., while Osten con- 
siders it as belonging to the xi cent., and 
Mothes to the ix. {See Fiq. 4.) 
ALTAMURA, Italy. 

The Cathedral, dedicated to Sta. 
^luria Assunta, is an interesting xiii 
cent. Romanesque church about 175 ft. 
long, with nave and aisles leading to a 



transept which does not project beyond 
the aisle walls. The nave is divided into 
three comi^artments by grouped pilasters 
and columns, between one pair of which 
a round arch spans the nave. Of these 
compartments the first and third contain 
each two, the middle compartment three, 
high round arches carried on stout shafts, 
with well - developed foliage capitals. 
Above the arches is a triforium, here 
called the matroneo, or women's gallery, 
with round bearing arches answering to 
the arches of the nave, and each enclosing 
three narrow horseshoe arches on small 
shafts with very large carved capitals. 
Over each group is a small, round-arched 
clerestory window, high in the wall, 
under the flat nave roof. The line of 
nave columns is continued by a single 
round arch on each side spanning the 
transept. The west front has a central 
doorway of great beauty with a pointed 
and gabled arch springing from two col- 
umns on each side, of which the outer 
ones rest on the backs of lions. All the 
parts are enriched with sculpture of much 
excellence, somewhat Byzantine in feel- 
ing and with a touch of Saracenic influ- 
ence. Over the doorway is a fine rose 
window. The church Avas founded by 
the Emperor Frederick II shortly after 
his coronation in 1220, and was finished 
about 1232. It was much altered between 
1309 and 1343 — to which pej-iod belong 
the great west doorway and the rose win- 
doAv over it. {Sec Figs. 5 and 6.) 
AMALFI, Italy. 

The Cathedral (S. Andrea), founded 
in the middle of the ix cent., restored 
in the xiii cent. — when .the bones of 
St. Andrew were brought thither — and 
finished in 1276, is a Gothic church with 
some singular features. From a vaulted 
porch or narthex approached by a broad 
and high flight of steps, and extending 
quite across the whole front of the church, 
three doorways enter the nave and aisles. 
The aisles were originally double on either 



AMALFI 




Fig, 5.— Altamura, CathpHral, Mattnneo. 

side, but the outer soutlieni aisle has 
disaiipearecl and the northern is now sep- 
arated from the church, or rather is re- 
phiced by a distinct church, called S. Cro- 
cefisso. The inner aisles are separated 
from the nave by round arches on each 
side springing from square piers which in 
the XYJii cent, enclosed the fine ancient 
nuirble columns. The luive and aisles 
open into a transejit with three Eastern 
apses. The flat ceiling is carved and 
gilded and decorated with paintings by 
Andrea d'Asti. Several interesting ex- 
amples of ancient art still remain in the 
church, including some sarcophagi with 
bas-reliefs, and a noble vase of porphyry, 
now used as a font. A crypt extends 
under the ^vhole transept with five aisles. 
On the north flank is a cloister Avith pointed 
arches carried on coupled columns. The 
west front has beei\ entirely rebuilt since 
18T0 from a design by Alvino, in the early 
Italian Gothic style, of white, black, and 
red marbles, and profusely adorned with 
\'enetian gold mosaic. The open areadcd 
porch or narthex above mentioned, raised 
on a high basement, is divided by a line 
of renewed columns into two transverse 
groined aisles. Of the three doorways 
opening from the porch into the church 
the central one is closed by a remarkahle 
jniir of bronze doors dating from 10G5. 



The jambs, lintel, and tympa- 
num are decorated with rude 
but spirited Arabic carving. 
Above the porch the outline 
of the fa9ade follows that of 
the inner aisles, but the centre 
is carried up in a high gable 
far above the nave roof, and 
is filled by a great picture in 
mosaic of Christ enthroned, 
with kings and the emblems 
of the evangelists. At the 
northern extremity is a square 
tower, surmounted by a sin- 
gular round belfry, with do- 
mical roof and angle turrets. 
The tower dates from 127(3, but was re- 
stored in 1768. {See Fig. 7.) 




Fig. 6.— Altamura, Cath., Poich. 



AMATHA 



AMATHA. See Hammch. 
AMELIA, Italy. 

The Cathedral is a Eenaissauce cliurcli, 
built in 1040 iipou the ruius of the med- 




7.— Amalfi, Cathc-dral. 



ia3val church which had been burned. Its 
plan is a Latin cross, about 170 ft. long 
and 140 ft. broad across the transej)t. Its 
nave, about 42 ft. wide, without aisles, 
is flanked by five rectangular chapels on 
eacli side, and opens into a long, narrow 
transept divided into three bays, of which 
those at the ends are covered each by a higli 
hemispherical dome on a drum lighted by 
large windows. The choir is a single oblong- 
bay, with a flat, elliptical apse, and flanked 
by square sacristies. The twelve-sided bell- 
tower of the ancient church still stands de- 
tached on the south side of the nave. 



AMMAIST (anc. Eabbath Ammon and Phil- 
adelphia), Palestine. 
Odeum, a small covered theatre just in 
front of the large theatre. Over a side door 
is a frieze sculptured 
with Romulus and Ee- 
mus and the wolf. Be- 
tween the odeum and 
the theatre extends a 
large rectangular space 
(agora or forum ?) bor- 
dered originally by 
about fifty Corinthian 
columns, twelve of 
which still stand. 

EoMAi^ Baths, on 
the right side of the 
brook. There is a fine 
apse, with two lateral 
apses. The high walls 
have richly decorated 
niches, and holes in 
the stones point to the 
original presence of 
metallic ornament. 
Some c 1 u m n s are 
standing, without cap- 
itals. 

Theatre, in excel- 
lent preservation, the 
auditorium excavated 
from the h i 1 1 - s i d e . 
Tliere are two diazo- 
mata or longitudinal 
passages, dividing the auditorium into 
three sections, the lowest with fourteen, 
the second with sixteen, and the highest 
with eighteen tiers of seats. Above the 
highest section there is a gallery, in the 
middle of which is a decorated ''-'box," 
with pediment and niches. The stage- 
structure is ruined to the foundations, 
but portions of a double colonnade survive, 
in front of it. The diameter of the the- 
atre is not far from 360 feet. 
AMRITH (anc. Marathos), Syria. 

Maabed or Temple, the most impor- 
tant of the few remaining religious struct- 



10 



ANAGNI 



ures of Phoenicia. It is virtually a 
miniature and simplified Egyptian temple, 
with its cella for tlie image of the divinity 
enclosed on three sides by iipright slabs of 
stone. Tlie third side was never closed, 
unless by a curtain. The roof is a mono- 
lithic slab with moulded edges ; it projects 
over tlie open side of the tabernacle, and 
is hollowed in the interior in the form of 
a flat vault. The tabernacle stands free 
on a rock-hewn base. There was a court 
around the tabernacle, doubtless girt 
with a portico, but all here is complete- 
ly ruined. 

PHCENiciAif " Monolithic " House, 
a rock-hewn dwelling, isolated by the 
cutting away of the rock at the back. 
The interior contains three rooms, sepa- 
rated by thin partitions left standing in 
the natural rock. The doors and win- 
dows are distributed irregularly. 

PHOiNiciAN ToMH called the Burdj 
el-Bezzak, l)uilt entirely above ground, 
in regular masonry of enormous blocks, 
some of tliem over 10 ft. long. It is 
square, with a projecting basement, and 
a simple lieavy cornice. It was finished 
above with a pyramid, now thrown 
down. Inside are two superposed cham- 
bers, each with a narrow openiug to the 
outside, and with niches for bodies cut 
in the walls, separated by partifions left 
in the stone. 

TojiH, consisting of a square base 
from wliich rises a circular die, above 
which are two circular drums, each 
smaller tlum the member next l)elow. 
ami a crowning member of domical shape. 
At the four corners of the base four lions 
of rude design issue from the die, facing 
outward. 
ANAGNI, Italy. 

The Cathedral (St. Magnus) is a 
Romanesque basilica rebuilt by the Em- 
])eror IMichael about 1075 and consecrated 
in 11G7. The interior is simple ; the nave 
and aisles, separated by arcades of round 
arches on piers M'ith rude grotesque ca])i- 



tals, are covered by barrel - vaults, and 
each ends in an apse. A fine pavement of 
opus Alexandrinum covers the whole floor 
of the church. The exterior is interesting, 
the west front decorated with old bas-reliefs 
on each side of the simple ronnd-arched 
doorway. Near the fa9ade is a square 
detached bell-tower, with battering walls 
and two-light arched windows. The great 
south doorway is ruined ; above it is the 
statue of Pope Boniface sitting on a 




tlirone. Tlie present entrance is on the 
north flank. The middle one of the three 
eastern apses has a dwarf arcade of arches 
supported alternately on columns and 
grotesque corbels. A three-aisled crypt 
is under the choir, with stilted round 
arches on columns with shafts and capitals 
of various design. It is decorated with 
early paintings of scenes from the life of 
St. Magnus, whose remains were trans- 
ferred hither in 1231. 



ANCONA 



ANCONA, Italy. 

Arch of Trajax. The Roman re- 
mains comprise the mole built by Tra- 
jan, on which stands the beautiful tri- 
umphal arch in white marble, erected 
A.D. 112, in honor of that emperor, and 
an amphitheatre. The arch is very light 
and elegant in its proportions, and is in 
remarkably good preservation. It has a 
single opening with a very heavy key- 
stone, four Corinthian semi-columns on 
each face, and a high panelled attic above 
the entablature. {See Fig. 8.) 

The Cathedral (S. Ciriaco). An xi 
cent. Eomanesque church, situated on the 
height of the jiromontory outside the 
present town, on the site of an ancient 
temple of Venus which stood in the 
centre of the original Greek city. It was 
at first a Greek cross, and has aisles on 
all the four arms, the transept terminated 
by semi-circular apses ; the east end square, 
probably replacing an earlier apse, and a 
pointed dome over the crossing, springing 
from a low twelve-sided tambour. All 
the cornices have arched corbel-tables, 
and the walls are divided by thin pilaster- 
strips and half columns. The windows, 
few and small, are either round - headed 
or circular. The west front has a fine 
deep projecting porch, added in the xiii 
cent., with several orders of columns and 
pointed arches in the jambs, surmounted 
by a gable. Of the columns the outer 
pair are octagonal and rest on lions. The 
south door is covered by a sim^jle round- 
arched porch of slight projection built 
in 1184. Within, the nave and transept 
have each three round pier arches rest- 
ing on columns of red Verona marble, 
presumed to have been those of the an- 
cient temple ; the capitals rude Ionic and 
Corinthian. The choir, originally of the 
same length as the nave and transept, but 
with four arches instead of three, has 
been prolonged by a single square com- 
partment flanked by two chapels. All the 
aisles are covered with four-part vaulting. 



Nave, choir, and transepts are flat-ceiled. 
The central dome is carried by squinches 
on four massive j^iers, joined by very 
slightly pointed arches. The floor in both 
transepts, high above that of the nave, 
is reached by broad steps, and under each 
is a high cryjat, of which the northern has 
a highly decorated chapel containing the 
tomb of St. Ciriacus, whose remains are 
preserved in a glass sarcophagus. The 
detached square campanile is of later date. 
{See Figs. 9, 10.) 

Sta. Maria della Misericordia has a 
gorgeous Eenaissance fa9ade, and an inter- 
esting interior of pure transitional Gothic, 
which must date from the xiii cent. Al- 
though in ground-j^lan it is basilical with 
a nave and aisles, no projecting transept 
and one shallow eight-sided apse, yet in 
elevation it shows a resemblance to a 
Greek cross with central dome, thus show- 
ing the influence of S. Ciriaco. The nave 
proper consists of three bays, whose cen- 
tral compartment is covered with an ob- 
long ribbed octagonal dome ; all the rest 
of the compartments in the church have 
simjjle ribbed cross-vaults. The base and 
capital of the piers are still of a rude Lorn- 




Fig. 9, — Ancona, Cathedral, plan, Scale of 100 feet. 

bard type. The octopartite choir resem- 
bles that of the cathedral of Narni. [A. 
L. F., Jr.] 

Sta. Maria della Piazza is remark- 



12 



ANCYEA 



able for its rich fa9ade dated 1210. This is 
curiously built in superposed arcades, not 
sej)arated by string-courses, the columns 
of each arcade resting in the spandrels of 
that beneath. The interior consists of 
five bays, with round arches supported by 
octagonal piers built uji of stone, the arch 
near the single apse being higher than the 
rest. All the compartments are covered 
with cross-vaults, those over the side-aisles 
being alone original. The transverse 
arches in the nave are 
round; in the aisles, 
pointed. The capitals 
are of simple cubic form. 
[A. L. F., Jr.] 
ANCYRA (Angora). 
Asia Minor. 

COLFMN" OF JoVIAJf, 

in the lower part of the 
city. The pedestal, a 
single block of grayish- 
white marble, has never 
had any inscription. The 
shaft is formed of nine 
drums, each one of which 
is cut with singular and 
similar horizontal flutes 
or mouldings, as in some 
Persian monuments. 
The capital has a Byzan- 
tine appearance ; at the four angles are 
four palms surrounding, on eacli face, four 
medallions or shields, each one of which is 
pierced with four holes, probably for hold- 
ing a bronze eagle. The total lieight is 
about 45 ft., that of the capital Ti ft. :> 
in., of the pedestal 9 ft. 2 in. 

Tkmi'le of Augustus and Rome, 
dedicated by Pyla3menes, son of King 
Amyntas of Galatia. It was changed 
early into a Christian church ; in the xiir 
cent, a mosque was built on the north 
side by the architect Sinan. The gate of 
the temple M^as carried to Bagdad by 
Haroun al Rashid. The remains consist 
of the lateral walls of the cella, with ant;>3 
terminated by pilasters, and the front 



wall with its doorway. The white marble 
temple was Corinthian, hexastyle, peript- 
eral, but the peristyle is gone. The cap- 
itals of the pilasters are formed of a well- 
sculptured winged Victory, amid acanthus 
foliage, and the frieze adorned with a run- 
ning acanthus ornament. The door of 
the cella has a cap on marble consoles. 
On the interior of the pronaos wall is the 
celebrated inscription called the Monu- 
mentum Ancyranum, containing in both 




Fig. 10. — Ancona, Cathedral. 

Greek and Latin the political testament of 
Augustus, or the record of liis acts, from 
the emperor's will. 
ANDRIA, Italy. 

The CATHEnRAL, dating originally from 
the middle of the xi cent, has been 
greatly changed by repeated restorations. 
It has a nave and aisles of nearly equal 
breadth, separated by arcades of seven 
arches, once pointed, now round, and 
opening by pointed arches into the broad 
rectangular transept, which does not pro- 
ject beyond the aisle walls, and in which 
the straight eastern wall shows traces of 
three apses which have now disappeared. 
About 1228 a line of seven chapels was 
added to each aisle. 



13 



ANDEOS 



ANDEOS, Cyclades, Greece. 

Tower or doujon, dating from about 
the time of Epamiuondas, in the locality 
called Pyrgos, close to the ruins of the 
ancient city of Andros. The basement 
story is vaulted by corbelling out ; there 
are five stories above this. The door and 
windows contract upward. The tower, 
30 ft. in diameter, survives to 
a height of nearly 70 ft. The 
masonry of the basement is poly- 
gonal with horizontal beds ; of 
the superstructure, good Hellenic 
with many of the vertical joints 
inclined. In some of the stories 
the stairs remain. 
AXGOEA. See Ancijra. 
ANSEDONIA (anc. Cosa), 
Italy. 

The ancient Etruscan coast city 
was abandoned in the v cent. Its 
Walls, forming an irregular 
quadrangle over a mile in circum- 
ference, are admirably preserved. 
They are built of enormous blocks 
of limestone in an irregular poly- 
gonal stjde, but with remarkably exact 
joints, and the outer face finished perfect- 
ly smooth. They are strengthened with 
projecting square towers. There are three 
double gates, not arched. 
ANTIPHELLOS, Lycia, Asia Minor. 

Neckopolis of rock-cut tombs, whose 
fa9ades appear in the face of the cliff. 
These fa9ades imitate exactly a construc- 
tion framed in square wooden beams, 
with panelled doors and windows and ceil- 
ings of round poles laid closely side by 
side. Even the heads are shown of the 
tree-nails used to secure the dove-tailed 
and mortised beams. Some of the roofs 
are flat, others gabled in the form of a 
Greek pediment. The forms evidently 
reproduce in all their details the exteriors 
of the wooden dwellings of the natives, 
and this imitation is in some cases extend- 
ed to the interior chambers. 
ANXANUM. See Lanciano. 



AOSTA (anc. Augusta Praetoria), Italy. 

The Triumphal Arch is a massive 
structure about 40 ft. by 85 ft., pierced 
by a single arch 30 ft. wide and nearly 
40 ft. high. It is surrounded by ten 
Corinthian columns, standing on a high 
stylobate and supporting a Doric entab- 
lature. An order of stumpy composite 




Fig. 11, — Aosia, Arch of Augustus. 

pilasters bears on its entablature the 
wide archivolt. The attic which jJi'obably 
crowned it has disappeared, and with it 
the inscription, but the arch is believed to 
have been built by Terentius A^arro to the 
honor of Augustus, in commemoration 
of his victory over the Salassi in 25 B.C. 
{See Fig. 11.) 

The Cathedral (S. Gratus and S. 
Jocundus) is a Eomanesque church of 
doubtful date, variously assigned to the 
XI and xiT cents., with a Eenaissance 
fa9ade which was added in 1522. The 
broad apse is flanked by two massive 
square towers, evidently of early date, and 
on the north side is a cloister dating from 
1450 with round arches on grouped piers. 
The interior is simple and severe. Avith 
nave and aisles divided by arcades whose 
round arches spring from plain square 
piers. The choir has a fine mosaic pave- 
ment and inlaid stalls dating from the 



APAMEIA 



end of the xv cent. An ancient ciypt of 
Eomanesque character with cohimns fitted 
with classic capitals lies under the choir. 

St. Ours is a very old church, which 
has been dated back to the viii cent. 
The interior is modernized, but has 
some handsome stalls ; the front shows a 
late Gothic doorway with a gable over it. 
The Eomanesque cloister is interesting. 
It has single columns of black marble, 
with capitals rudely carved in figure-sub- 
jects from Bible history, which carry 
rough round arches, and a roof covered 
with stone. The high square bell-tower, 
standing apart, is also late Romanesque, 
with a more recent pyramidal roof. Near 
by is another tower, of later date, octag- 
onal, with broad-windowed belfry story, 
deep corbelled cornice and spire-like roof. 

PoKTA I'u.T-rroHJA, the chief gate of tlie 
ancient Roman city, now called the Porta 
della Trinita. The gate has a triple arch 
in each face, the middle arch being 27 ft. 
wide, those on the sides 7| ft. Tlie dis- 
tance between the two faces is -40 ft. — the 
longest known in such Roman construc- 
tions. Over the arches there was a frieze 
and consoles, which remain in part. 

The Roman Walls, enclosing a rectan- 
gular area 790 by 620 yds., remain through- 
out their extent, together witli some of 
their square towers. Several of these 
were in course of time altered into medi- 
c's val fortresses. The facing is of hewn 
stones, ai\d has been in part torn away as 
building material. There is an impres- 
sive jiieee of the straight back wall of a 
theatre over 70 ft. high, in four stories, 
with windows, and scanty remains of an 
ampliitlieatre. in plan 'iS'^ ft. by ii'i ft. 
Eight arcades of the exterior facing re- 
main with Doric semi-columns. AVithout 
the town there is a fine Roman bridge of 
a single arch of large stones. 
APA^IKIA (Kalat''el-Mudik), Syria. 

I'ortions remain of the ancient walls, 
and of the chief gate on the north. 
From tliis gate a street 140 ft. wide. 



of about 1,800 columns, 33 ft. high, ran 
southward ; some of them remain stand- 
ing ; a great number lie as they have 
been overthrown by earthquakes. Back 
of the colonnades were walls with niches ; 
a niimber of the portals still stand. 
APHRODISIAS, Caria, Asia Minor. 

The Stadium, in the N. W. part of the 
city, forms a part of the walls, like the 
Amphitheatrum Castrense in Rome. It is 
semicircular at each end and 920 ft. long 
by 270 ft. wide. The arena, 100 ft. by 750 
ft., is surrounded by twenty-six tiers of 
seats, divided on each side into thirty 
cnnei or sections, separated by flights of 
steps. Above the seats was a gallery 18 ft. 
wide, covered by an arcaded portico, nu- 
merous fragments of which still remain. 
The grand entrances were through arched 
gateways at each extremity. 

Temple of Aphrodite (Venus), prob- 
ably of Roman date ; the town enjoyed the 
protection of the Caesars, who claimed de- 
scent from Venus. The temple is one of 
the best preserved in Asia Minor ; sixteen 
of its columns are standing, and bases of 
others are in place. It stood in the middle 
of an enclosure 370 ft. by 190 ft., adorned 
on the interior with coupled Corinthian 
columns 19 ft. higli, supporting pedi- 
ments alternately curved and triangular. 
Between the columns were niches Avith pi- 
lasters. The temjjle was Ionic, octastyle, 
pseudodipteral, with fifteen columns in 
each flank ; the ground-plan is 119 ft. by 
GO ft. ; the cella is destroyed. It was 
changed into a church, the columns of 
the front being removed and ranged with 
those on the sides, and external walls 
built outside of the columns so as to form 
a nave with aisles, and an apse. 
AQU.^ CUTILI.E. See Citiaducalc. 
AQUILA, Italy. 

S. Berxardixo. a XIII cent. Gothic 
church, many times rebuilt, of which 
the interior was partly destroyed by the 
earthquake of 1703, and much changed in 
tlie rebuilding. The aisles are vaulted : 



15 



AQUILEJA 



tlie nave lias a flat ceiling, and is bordered 
by arcades of five arches each on columns. 
The crossing is covered by a dome and 
at the east end is a central apse. The 
Eenaissance west front by Cola dell' Ama- 
trice, dating from 1525, is the most con- 
spicuous feature of the church. 

Sta. Makia in Collemaggio. a re- 
markable Romanesque church of the 
XIII cent., which has been much injured 
by earthquakes and degraded by restora- 
tions, the interior being entirely modern- 
ized. The west front, square like others 
in Aquila, retains most of its original 
features. It is about 100 ft. broad, in 
two stories, separated by a modillioued 
cornice of classic form, with pilaster-strips 
at each angle. The first story has three 
round-arched doorways with square open- 
ings. In the second story a window over 
the central doorway, large and rich, is 




Fig. 12. — Aquila, S. M. di Collemaggio. 

the only opening. The whole wall is 
faced with small blocks of white and red 
marble, forming a regular tile pattern, 
and the front is finished with a horizontal 
cornice of Eenaissance mouldings. At 
the south angle of the west front is a Ioav 
octagonal bell-tower with heavy macchico- 
lated cornice. The church was founded 
in 1287, in conjunction with a Benedic- 



tine monastery, and was occupied in 1294, 
in which year Pope Celestine V. was here 
crowned. {See Fig. 12.) 
AQUILEJA, Venetia, Italy. 

The Cathedral, a great basilica, sub- 
stantially of the XI cent., but much 
altered later. It has a nave and aisles, 
transept, and three eastern apses. The 
nave is about 40 ft. wide, and the inside 
width across the aisles 85 ft., the whole 
length about 230 ft. The pillars which 
carry the fourteen pointed arches in each 
arcade are probably Eoman, varying in di- 
ameter and height ; but their capitals seem 
to date from the rebuilding of the church 
in the first half of the xi cent, by the 
patriarch Poppo. The pointed arches 
are probably due to a restoration after an 
earthquake in the second half of the xiv 
cent. (13G5-81). The ceiling is of wood 
and cinquefoiled in cross section, like 
some in Venice and Padua. 
The choir is raised over a crypt 
which, like the transept, is 
probably of the xi century. It 
has a handsome balustraded 
podium, reached by a double 
flight of steps, which encloses 
a rich pul^Dit, all of early Ee- 
naissance design, and giving 
fine effect to an otherwise bare 
church. At the middle of the 
princi^Dal apse is the patriarch's 
tlirone of inlaid marble, j^i'ob- 
ably reconstructed in the xiv 
cent, out of an older Byzantine 
example. {See Fig. 13.) 

In front an open porch of 
Lombard architecture connects 
with an old vaulted building known as 
the Chiesa DEI Pagani. This has three 
bays of plain cross-vaulting and niches in 
the side Avails. It leads to an old ruined 
baptistery, octagonal in plan, and contain- 
ing a tank for immersion, apparently hex- 
agonal, and surrounded by an arcade con- 
nected with the outer wall by cross arches. 
The high campanile, begun by the patri- 



16 



ARAK-EL-MONYEH 



arch Poppo, and finished in the xiv or 
XV cent., is a hmdmark in the country. 
Inside the church in the north aisle is a 







Fig 13. — Aquileja, Cathedral. 



curious littk' detached round huilding, of 
which tlie purpose is forgotten. It Inis 
a west door, a cohumaded attic, and a 
pointed roof. 
AKAK EL-MONYEH, Palestine. 

RocK-cHAMBEUs, excavatcd in the soft 
limestone. The entrance is hy a large 
door of good Avorkmanship, cut in the 
rock. This leads into a series of large 
and lofty chambers of beehive shape, one 
of which is nearly 100 ft. in diameter. 
The walls are ornamented with sculptured 
cornices, and with shallow niches in parallel 
rows. It is probable that these curious 
works, witli the otlicrs like them in this re- 
gion, date l)ack to tlie ])rimitivc inhabitants, 
prior to the Edomite occupation. There 
are some Cufic inscriptions cut in the rock. 
ARBE. Dalmatia. 

Campanile, or bell-tower, one of the 
finest in Dalmatia. It stands conspicu- 



ously apart from the cathedral, near the 
edge of a cliff. It is 20 ft. square and 
90 ft. high to its 2'i^i''ipet, is built in five 
stories, with coupled windows, expanding 
from story to story in Romanesque fash- 
ion, and a fine belfry-stage with four-light 
openings and coupled shafts, the whole 
crowned with an arcaded parapet, and 
above this an octagonal spire. Eitel- 
berger finds mention of it in 1212. 

The Cathedral, a three-aisled basilica, 
had originally three apses, of which the 
southern has disappeared ; tlie middle 
one, round within, is octagonal without. 
The nave is of six round-arched bays, 
carried on round shafts with Byzantine 
capitals and stilt-l)locks above them as 
in the Ravenna churches. The interior 
is considerably modernized. It contains 
a remarkable hexagonal baldacchino or 
ciborium, Byzantine in style, richly or- 
namented, and carried on columns of 
cipollino. Tbe carved stalls are hand- 
some and bear date 1445. The church as 
it stands is probably due to the rebuild- 
ing of 1287, which is recorded in an in- 
scription. 

S. CiovAXXi Battista, now ruined, 
was a Benedictine monastic church — an 
aisled l)asilica of eight bays. The east 
end, which alone still stands, is a singular 
departure from l^almatian or Byzantine 
Avays of building. It has a round apse, 
and an ambulatory about it which is 
covered with barrel - vaults, resting on 
cross arches, and expanding outward to 
suit the radiating bavs. 
ARBELA (Irbid). Galilee, Palestine. 

Caverxs, fortified by Josephus in the 
I cent., on the south side of the gorge of 
Wady el-Hamam. A broad flight of steps 
at the top of a steep slope leads to the 
caverns, which are in several tiers con- 
nected by winding stairs. Many galleries, 
cisterns, and cluimbers are wholly artifi- 
cial and of excellent workmanship. The 
mouths of the caverns are closed by loop- 
holed walls. The chief entrance is suy- 



AKBONA 



mounted by an excellent relief of two 
lions. Under Herod tlie Great these cav- 
erns were a stronghold of brigands. 
AEBONA. See Sfa. Maria (VArbona. 
AREZZO, Italy. 

The Badia. A Renaissance church, at- 
tached to the Monastery of the Cassinensi 
and dating from about 1550. The design 
is attributed to Vasari. Its plan is a rect- 
angle, about 75 ft. by 165 ft., with five 
square bays, sejiarated by transverse round 
arches and covered alternately by barrel- 
'vaults and roimd domes. The easternmost 
bay forms the choir and is enclosed by 
solid walls, the others open into the aisles 
— the domed bays by high arches spring- 
ing from square pilasters, the others by 
lower openings in the form of a triumphal 
arch on small Doric columns. 

The Cathedral (S. Pietro). An in- 
teresting example of the Grothic style of 
North Italy. Its exterior is unimportant. 




Fig. 14.— Arezzo, Sta. Maria della Pieve and Fraternita. 

and the fa9ade, in which is a fine rose 
window with good painted glass, was never 
completed. Its interior is divided into 
a long nave of six bays and two narrow 
aisles, with a choir as wide as the nave, 
ending in a half octagon, but no transept. 



The nave-j^iers are composite, bearing 
pointed arches and faced M'ith vaulting 
shafts. Over each arch the wall is pierced 
with a round window filled with good 
glass of the xvi cent, by a French artist. 
The church itself dates from the later half 
of the XIII cent., having replaced an 
older building which was pulled down in 
1277. The high altar has been ascribed, 
without much reason, to Giovanni Pisano. 
The Fkaterk-ita della Misericoe- 
DiA has a fayade on the Piazza Vasari 
which is a picturesque examj^le of tran- 
sitional architecture. The lower story 
is characteristically Gothic, Avith a round- 
arched door between two pointed win- 
dows, their splayed jambs beset with slen- 
der columns, straight and twisted, and 
profuse foliage. The second stor}^. Re- 
naissance, is decorated with niches and 
sculpture in the intervals of an order of 
delicate pilasters. Above this a j^ictu- 
resque wooden loggia is 
corbelled out under a 
boldly projecting roof, 
from which rises an 
ugly triple bell-cote of 
later date. Vasari says 
that the fa9ade was the 
work of Niccolo di 
Piero in 1383, a date 
which is too early for 
anything but the lower 
story. On the adjoin- 
ing side of the piazza 
is the loggia, designed 
by Vasari. [See Fig. 

U.) 

Sta. Maria An- 
NUifZiATA, known also 
as the Madonna delle 
Lagrime. A Renais- 
sance church of plain brick exterior, be- 
gun about 1460 by Bartolloneo della 
Gatta, and finished by Antonio San Gallo. 
Its plan is a rectangle, about 85 ft. broad 
and 165 ft. long, of which length about 
30 ft. is given to a closed porch or vesti- 



IB 



ARGOS 



bale divided by Corinthian colonnades in- 
to tliree transverse bays. Kound arches 
from the three bays enter the nave and 
aisles, which are separated by arcades of 
three round arches on each side, springing 
in Roman style from square piers faced 
with Coriutliian pilasters with an entabla- 
ture, above which is a clerestory with 
three round-arched windows, and a cornice 
from which springs the barrel- vault of the 
nave. Tlie aisles are divided by transverse 
arches into square bays, each witli an altar 
recess. The transept arms and choir are 
barrel-vaulted : tlic crossing is covered by 
a liemispherical dome. 

Sta. Maiua delle Grazie is a small 
Gothic building without aisles, about ;5() ft. 
wide and 70 ft. long, divided into two square 
bays covered by groined vaults, aild an 
octagonal apse. A graceful early Renais- 
sance portico ascribed to Benedetto da Ma- 
Jano is swung across the west front, com- 
posed of an open arcade of round arches 
on Corinthian columns with blocks of en- 
tablature, with a whole entalilature above, 
of which the frieze, as well as the sijandrils 
of the arches, is richly decorated with })as- 
reliefs. A raised terrace with balustrade 
surrounds the church on three sides. 

ISta. Maria deli.a Pieve. An an- 
cient church of somewhat uncertain style, 
said to date originally from the vir cent., 
but rebuilt in the xiii cent. Its west 
front is perhaps unique, and little like a 
church. It consists of four stories with a 
horizontal cornice. The first story is an 
arcade of live round arches with doors in 
the middle and at the ends. The other 
three stories consist of open galleries with 
columns, the second and third being 
arcades, the fourth a mere stockade of 
columns. The columns are round, poly- 
gonal, twisted, some classical, some By- 
zantine, some Gothic, the capitals and 
bases evidently collected from the ruins of 
older buildings, and used without regard 
for uniformity of size or design. At the 
angle of this singular front is a verv high 



square campanile, with five similar stories 
of two-light semicircular windows. The 
east end abuts on a picturesque square, 
and presents a central apse in three 
stages : the second with an open gallery of 
tall round arches on columns, the third a 
gallery of slender columns with square 
lintels. The interior has a nave and side 
aisles divided into four bays ; plain round 
columns with high foliage ca2:)itals and 
square plinths, carrying pointed arches ; 
transepts which do not pi'oject beyond the 
aisle walls ; a choir of two bays with round- 
arches and an apse ; and a circular lantern 
above the crossing, with an arcade under 
the cornice. The choir has a triforium of 
square oi:ienings with columns. The roofs 
are all of wood, except those of the choir 
aisles, which are vaulted. The aisles are 
lighted by small single-light windows high 
in the wall. The apse is thought to have 
undergone little alteration since the end of 
the X cent., but the greater part -of the 
church was rebuilt about 121G by Marchi- 
onni, a local architect. The campanile 
dates from 1330. {See Fig. U-) 

There are remains of a Rom ax Amphi- 
THEATKE ill the garden of tlie church of 
8. Bernardo. The walls are of reticulated 
work. 
ARGOS, Greece. 

IIek.el'm, or sanctuary of Hera, one 
of the most noted sanctuaries of Greece. 
The sanctuary occupied three terraces, 
on j\rt. Euboia, about two miles from My- 
cenaN and Avas undoubtedly of Mycenasan 
foundation. Besides the Temple of Hera, 
it contained stoas, lodgings for temple- 
servants, and other structures. The old 
Temi)le of Hera built, in part at least, of 
unburnt brick, occupied the highest ter- 
race. It was burned in-i23 B.C., and Avas 
rebuilt by the architect Eupolenios on the 
middle terrace. The latest excavations, 
begun in 1892 by the American School at 
Athens, are still (ISiU) incomplete. The 
new temple, Doric, hexastyle, had twelve 
columns on the flanks, and a eella with 



ARICCIA 



pronaos and epinaos. In the interior of 
the cella were two ranges of five columns. 
The exterior dimensions of the founda- 
tions are 65^ It. b}^ 130 ft., making the 
temple somewhat larger than the so-called 
Theseum at Athens ; the pronaos was 22 
ft. wide and 15 ft. deep. The width of 
the portico in front of the pronaos was 
from 10 ft. to 13 ft., on the flanks -4 ft. 
less, and in the rear probably about 7 ft. 
more. One peristyle capital has been 
found. It has twenty channels, and the 
curve of the echinus is very graceful. 
Several interesting pieces of sculpture have 
been found, among them a fine head of 
about life-size and Polycletan type, which 
has been identified as a Hera. A very 
large and valuable find has been made of 
archaic terra-cottas and Mycenjean j^ot- 
tery. In the newer temple was placed 
the colossal chryselephantine statue of 
Hera by Polycletus, one of the famous 
woi'ks of antiquity. 

Theatre, on the east side of city, at 
south foot of the Acropolis. The seats 
are mostly excavated from the solid rock ; 
the ends of the cavccu as restored by 
the Eomans, were formed of large masses 
of rude stones and mortar, faced with reg- 
ular masonry, but are now shapeless heaps 
of rubbish. The excavated part shows 
sixty-two surviving tiers of seats separat- 
ed by two precinctions or diazomata into 
three ranges. Greater diameter 450 ft., 
orchestra 200 ft. ; seating capacity 15,000 
to 20,000. The excavations of 1891 dis- 
closed remains of a Roman logeion or stage. 
An underground passage leads from be- 
hind the proscenium to the orchestra, as 
at Eretria, Sicyon, Magnesia, and Tralles. 
ARICCIA (La Riccia), Italy. 

Aj^-cien^t Causeway, by which the Via 
Appia crosses the Vallariccia. It is a truly 
impressive work, 700 ft. long and about 
40 ft. high where the valley is deepest. 
It is built of excellent ashlar in peperino, 
and is traversed by three archways for the 
flow of water. The width is about 40 ft. 



Sta. Maria Assunta. A Renaissance 
church built by Alexander VII. in 1664 
from the designs of Bernini. Its plan 
is a circle with a projecting arcaded 
portico covered by a gable and flanked 
by two wings faced with coupled col- 
umns. On the interior the wall sv^rface 
has an order of Corinthian pilastQ.rs with 
arches in the intervals, above which is a 
dome decorated with reliefs by Antonio 
Raggi. 

ARIMINUM. See Bi mini. 
ARPINO (anc. Arpinum), Italy. 

Walls. The Cyclopean fortification- 
walls of the citadel, in large irregular 
blocks, are among the most remarkable 
extant specimens of this construction in 
Italy. In the stretch of wall descend- 
ing from the citadel there is a gate about 
20 ft. wide, closed in by corbelling the 
superimposed courses, and cutting the 
opening left to the shape of a pointed 
arch. This gate is almost identical with 
the gate at Thoricus in Attica, but is 
larger. It is now called the Porta dell' 
Arco. A Roman arch of fine construc- 
tion now serves as one gate of the city. 
ARRETIUM. See Arezzo. 
ARSAGO, Italy. 

S. ViTTORio, the ancient church, is a 
simple brick basilica with nave and aisles 
separated by alternate columns and square 
piers, with round arches, and a high 
clerestory. Nave and aisles are roofed 
with wood and each ends in an eastern 
apse. The whole design and construc- 
tion are extremely simple. The Baptis- 
tery stands directly in front of the west- 
ern fa9ade of the church, with a central 
octagon about 23 ft. in diameter, en- 
closed by two stories of round - arched 
arcades with columns. The arches of tlie 
first story open into barrel-vaulted niches, 
except in the case of the eastern niche, 
which is round and has a semidome. In 
the second story is a surrounding gallery, 
vaulted in trapezoidal bays, and the clere- 
story wall is carried up as a sixteen-sided 



20 



ASCOLI 



polygon covered by a full-centred dome, 
also with sixteen sides. The exterior is 
simple. Small coupled windows light the 
upper gallery, and arched corbel-tables 
finish all the eaves, and tlie roofs are of 
stone. The clerestory appears as an ar- 
cade of sixteen round arches. The date 
of the building is unknown. 
ASCOLI (anc. Asculum). Italy. 

The Cathedral of S. Emidio, built of 
travertine. The nave and aisles date, ac- 
cording to an inscription, from 1481, but 
the greater part of the church, including 
tlie Renaissance fa9ade, attributed to Nic- 
ola Filotesio, better known as Cola dell' 
Amatrice, is of the xvi cent. Tliis fa5ade 
is rigidly symmetrical, tlie angles and tlie 
lines of tiie nave piers marked by flat 
pilasters with engaged three-quiirter Co- 
rinthian columns carrying an entablature 
and balustrade, wliich finishes the front. 
In tlie central division is a great doorway 
with small groupeil windows above, and in 
each side a round nidu' and a s([uaro pan- 
el. The two towers are. however, of the 
early church. One is uufinislied. 'i'lie 
crossing is covered by a donu'. Tlie nave 
and aisles are simple and heavy, the ar- 
cades resting on plain squ.ire piers. The 
most interesting feature of the church 
is the crypt, which extends under the 
choir and transept, and is divided by 
sniiiU columns and arches into S((uarc 
groined bays. The columns of granite 
and marble are disposed in eleven rows 
lengthwise of the church ; their cubic 
capitals are rudely ornamented. 

S. Francesco. A Gothic church, per- 
haps of the XIV cent., about 200 ft. long 
and 80 ft. wide, the nave and aisles of 
vaulted bays separated by five octagonal 
piers on each side, with jiointed arches. 
There is no clerestory, the aisles being 
nearly as high as the nave. The crossing- 
is covered by an octagonal dome carried on 
four pointed arches, with squ inches in the 
angles. Th(> whole transept is raised five 
steps above the nave, and only divided by 



single broad-pointed arches in the line of 
the nave arcades into three vaulted bays. 
It has two vaulted semicircular apses on 
each end and three on the east wall, rising 
as high as the walls. The square west front 
has a pointed doorway and three square- 
headed windows above. The flanks are di- 
vided by slender, flat pilaster-strips, with 
narrow pointed windows between. The 
southern porch in two stories has a pointed 
arched opening below, and above is a Ee- 
naissance niche with a statue of Pope Ju- 
lius II. The eastern apses are flanked by 
two high stone turrets with spire roofs. 
On the north flank is a cloister with 
groined corridors and pointed arches. 

S. Giovanni Battista is a small bap- 
tistery — an octagon rising out of a square, 
and roofed with a high octagonal dome 
and stone lantern. The corners are occu- 
pied by niches, and covered externally 
by broach roofs. There are plain door- 
ways on two sides, and above, in each face, 
is a blind triple arcade, on slender en- 
gaged shafts. It M'as probably an ancient 
lioman building. 

There are important remains of the an- 
cient walls, with a bridge, and a note- 
worthy gate on the west side of the town. 
There are also ruins of a theatre and an 
ain[)hitheatre. The cathedral stands on 
the foundation, still recognizable, of an 
ancient temple, said to be of Hercules. 
ASIN KALESSI. See lasos. 
ASPENDOS. Pamphylia, Asia, :\Iinor. 

IiOMAN AguEDrcT, crossing the plain on 
a long series of arches, much of which sur- 
vives. It presents a noteworthy feature in 
the interruption of the course by two lofty 
siphons, supported on curious combina- 
tions of arches of different heights, with 
tower-like structures in the middle to af- 
ford means of ascent. The object of these 
siphons may have been to break the swift- 
ness of a descending current. 

Theatre, the best preserved of ancient 
theatres, and the finest in Asia Minor, 
nothinir beiuir wanting but the columns 



81 



ASSISI 

and roof of the stage-structure. It was and eighteen in the upper. There is a 
built during the reigns of Antoninus Pius gallery above the cavea, with an arcade of 
and Lucius Verus, by the architect Zeno. fifty-three arches. Behind the stage is a 




Fig. 15- — Aspendos, Theatre. 



The exterior diameter is ofiO ft., orchestra 
85 ft., depth from inner fagade of stage- 
structure to back wall of cavea, 312 ft. 
The massive castle-like outer fagade of the 
stage-building, of large blocks of breccia, 
with rough-hewn faces, has its chief door, 
with a projecting porch, in the middle, 
and three superimposed I'anges of windows 
above. At each end of the stage-building 
a wing projects inward, with a door lead- 
ing upon the stage, and communication 
from without by a vaulted passage with 
the orchestra. The inner fagade of the 
stage-building has five doors, and was 
decorated by two ranges of coupled col- 
umns or pedestals, the lower range Ionic, 
the upper Corinthian. All the interior dec- 
orations were of white marble. The seats 
are all intact, and the cavea is divided hor- 
izontally by a single precinction ; there 
are tv/enty-one tiers in the lower division. 



large hall, above which are two galleries ; 
at each end of the hall is a stair leading 
to the upper stories, in which are several 
rooms with painted walls. {See Fig. 15.) 
ASSISI (anc. Assisium), Italy. 

The Cathedral, dedicated to S. Eufo, 
or Ruflno, martyr, of a.d. 236. is an early 
Gothic church, founded before 1150. witli- 
out transept, with nave and aisles of five 
bays, those of the aisles square and groined, 
those of the nave oblong, with barrel vaults 
crossed by transverse arches. At the "east 
end is a large, octagon-domed choir, a 
square chapel with round apse opening from 
its eastern side. A large chapel dedicated 
to the Holy Sacrament opens from the west 
end of the south aisle. The whole interior 
was modernized in the xvi cent, by Ga- 
leazzo Alessi. The west front is in two 
stages, covered by a high plain gable en- 
closing a blank-pointed arch. The pan- 



22 



ASSIST 



elled lower stage has three round-arehed 
doorways with reliefs in the tympana. A 
blind arcade of small round arches se23ar- 
ates it from the second story. The cam- 
panile is square, with a plain wall, ending 
in two stories of small, round -arched 
openings. Under the church is a crypt, 
believed to be as old as 1028. 

S. FrtAJfCESCO (St. Francis). One of 
the most interesting churches in Italy, 
and perhaps that in which the (lothic 
spirit may be said to have most completely 
governed the design, and in which flying 
buttresses — a very unusual feature in Ital- 
ian architecture — were used to meet- the 
thrust of the vaults. It consists of two 
churches, one above another, 250 ft. long 



tine tracery. In the gable is a smaller cir- 
cular window, without tracery. This front 
is a mask, having no relation to the interior 
disposition of the church. On the south 
side rises a square campanile in four stages, 
the upper stage being a plain open belfry. 
Within, the upper church is a long Latin 
cross, consisting of a nave, without side- 
aisles, about 36 ft, wide and 60 ft. high, 
ending in a choir with a round apse of 
equal width, and a transejit of a single 
square bay on each side. The walls of the 
nave are broken by grouped shafts with 
foliated capitals into four square bays, in 
each of wliicli is a narrow pointed two-light 
window with very early painted glass. 
The transepts have grouped windows with 




11253 



ES35 



Fig. 16. — Asslsi. S. Francesco. 



and 160 ft. across the transept, rising from 
the steep hillside at the top of which the 
town is built. The upper church has a 
simple front M'ith a single gable of medi- 
um pitch, a deep-splayed doorway of two 
pointed and cusped arches, under an en- 
closing arch, and a rich rose window M'ith 



four pointed ojienings. Nave and transept 
ai'e vaulted, and the thrust of the nave 
vault is met by turret -like buttresses 
on the outside of the clerestory, and flying 
buttresses. Walls and vaults are covered 
with frescoes of the earliest pei'iod of Ital- 
ian art, still in tolerably good preservation. 



23 



ASSIST 



some of them attributed to Cimabue. The 
side walls are thinned at a point just below 
the spring of the vault, giving room for a 
narrow passage from end to end of the 
church. The choir is surrounded by a 
range of stalls by Sansovino (1501), with 
g ibled canopies of late style. {See Fig. 16, 
Section.) 



rior dark. At the end of each transept is 
a small jiolygonal chapel ; a similar chajDel 
opens from the south end of the narthex. 
These chapels, as also the north aisle and 
perhaps the tower on the south side, 
were built later by Filippo di Campello. 
As in the upper church, the walls and 
vaults are covered with frescoes by the 




Fig. 17. — Assisi, S. Francesco, Lower Church. 



The terrace before the church is bounded 
by a retaining wall, at the foot of which 
is a lower terrace, from which the lower 
church is entered by a richly decorated 
Gothic doorway under a projecting round- 
arched porch, opening into a long vesti- 
bule or narthex across the front. Its plan 
is substantially the same, with the addition 
of a narthex crossing the front and a line 
of chapels on either side the nave. The 
vaults are low, the windows small, the inte- 



early Italian masters, including G-iotto, 
whose paintings on the vault over the high 
altar (which stands over the spot where 
the supposed body of St. Francis was dis- 
covered, in 1818), rej^resenting the glorifi- 
cation of the saint, and the virtues of pov- 
erty, chastity, and obedience, are esteemed 
among the finest of his works. After this 
discovery, an ornate crypt was construct- 
ed about the spot, extending under the 
nave and choir, in the form of a cross, 63 



84 



ASSOS 



ft. wide and 108 ft. long, in the Doric 
style. The building of these churches 
began in 1228. The lower church was 
finished in four years ; the upper was 
dedicated by Pope Innocent IV. in 1253. 
Tlie first architect was a German'' Jacob 
of Meran, in the Tyrol. He was followed 
by Filippo di Camjoello, who appears to 
have been a monk attached to the convent 
of St. Francis at Assisi. On account of 
its positioii the cliurcli fronts eastward 
toward the town ; it ovei'hangs the west- 
ern declivity. {See Fir/. 17.) 

CoxvEN'T OF S. Fkancesco. A vast 
and irregular mass of buildings surround- 
ing the churcli on the south and west, and 
built up from tlie descending liillside on a 
basement of tall round arches. The build- 
ings are partially surrounded hy an 02:)en 
vaulted arcade, and enclose two cloisters. 
A larger court lies to the southeast of the 
church, enclosed by open arcades, and con- 
nected by a staircase with the terrace from 
which the upper church is entered. The 
buildings of the convent grew gradually 
abdut the cliurcli. and the earlier jxirtions 
are nearly contemjtorary with it. 

Sta. jMauia okoli Ax(;i;i.i. A Renais- 
sance church, built outside the town by 
Pope Pius V. about 15G'.), to replace a 
smaller church of the Xlll cent, which 
liad become too small for the increasing 
crowds of pilgrims who gathei'ed every 
year at the festival of St. Francis. The 
church is of great size, its plan being a 
rectangle about 185 ft. wide and 375 ft. 
long. The nave, nearly GO ft. wide, is 
covered by a barrel vault and separated by 
five round arches on each side from the 
aisles, which arc in square domed bays, 
from each of which opens a srpiare chapel. 
The nave and aisles open by round arches 
into the transept, which is barrel-vaulted 
like the nave, Avhile the crossing is cov- 
ered by a very higli dome '50 ft. in diam- 
eter, raised on a drum encircled within 
and without by an order of coupled Corin- 
thian ])ilasters. From the crossing opens a 



barrel-vaulted choir with a round apse. 
Under the great dome stands the Porziun- 
cula, so called, the oratory or dwelling of 
St. Francis, in the form of a small chapel 




Fig. 18. — Assisi. S M. degii Angeli. 

about 20 ft. by 3.' ft., with a gabled roof, 
and a round apse at the east. The choir 
is fianked by two I'ather low square tow- 
ers with whimsical belfries. The design 
of the church is believed to be liy Vignola, 
but the name of (Jaleazzo Alessi is also 
connected with it. The church was much 
damaged by repeated earthquakes in 1831- 
32, but was restored in 184:0. {See Fig. 
IS.) 

Temple. The hexastyle portico of a 
Eoman temple of Minerva, with its pedi- 
ment, survives iu good preservation, witli 
beautiful fluted Corinthian columns of 
travertine. It serves now for the churcli 
of Sta. Maria della ]\Iinerva. It is of the 
time of Augustus, and is the best preserved 
temple-front in Italy, elegant in propor- 
tions and details. The cella. more or less 
altered, forms the body of the church. 
ASSOS (modern Behram), Asia Minor. 

Baths, the most purely Greek example 



ASSOS 



known, on the terrace next below the 
agora. The lowest story comprised thirteen 
chambers, each witli a basin and a reser- 
voir for water. The floors were cemented, 
and the chambers encrusted with marble. 
In front, lower down the sloj)e, were Ro- 
man baths. 

BouLEUTEKiox, or Senate House. It 
was a large square building with a portico 
of five columns in front, the ceiling suj?- 
ported upon four columns, widely spaced. 
In front of it there is a rostrum for j^ub- 
lic speaking. 

Bridge, one of the very tew surviving 
Greek bridges, crossing the river Satnio- 
eis (modem Tongia), on the Alexandria 
Troas road. A number of the piers sur- 
vive, of elongated diamond shape, 11 ft. 10 
in. long, in large blocks carefully fitted 
together with joggles, better to resist the 
current. They stand about 10 ft. from 
centre to centre. The platform of the 
bridge was formed of four lintels, side by 
side, bonded together by swallow-tailed 
wooden dowels. The lintels remain ujjon 
three of the piers. 

FoKTiFiCATiOK WALLS, among the 
most perfect and instructive examples of 
Greek works of this class. They can be 
followed along the greater j^art of their 
extent of about two miles, and in many 
places are practically j^erfect and rise to 
a height of 60 ft. The latest walls, built 
by Lysimachos in the iv cent. B.C., are 
in rectangular blocks closely jointed. In 
some places polygonal walls are enclosed 
in this regular masonry. The Avails 
seem to be of stone throughout. In one 
of the towers a true vault occurs : but 
in some of the gates round or pointed 
arches are cut from horizontal courses. 
Other gates have their sides corbelled out 
to receive the lintel. The chief gate- 
way, on the western side, on the ancient 
road to Alexandria Troas, is flanked by 
great square towers. 

Gymnasium, a rectangular walled en- 
closure of considerable extent, with por- 



ticoes on at least two sides, and a jiro- 
jecting apse, polygonal on the exterior 
and semicircular within, near tlie eastern 
angle of the wall. Next the a^ise, and be- 
longing to a building connected with it, is 
an elaborate and careful marble mosaic, in 
colors, including yellow, red, blue, white, 
and orange. It covered at least 300 
square yards. The building was a By- 
zantine basilica of early date. 

Heroon or chapel, at the western end 
of the baths, containing the sarcophagi of 
three heroes — Callisthenes, Aristias, and 
Callisthenes. On the lintel are inscribed 
the thanks of the j^eojile to the heroes. 
The little building was Doric, j^rostyle, 
tetrastyle, with three stejis. 

Necropolis, extending beneath the 
walls for a long distance along the road to 
Alexandria Troas, outside of the princi- 
pal gate. Most of the tombs are arranged 
along the terraces, between the walls and 
road. Many are sculptured sarcoj)hagi 
of graceful jDroportions ; others are archi- 
tecturally disposed vaults of some size, 
with benches carried around their walls ; 
still others are built-up mausolea. The 
tombs range in date from early Greek 
days to the late Roman. It is interesting 
to note that the Assian stone — lapis As- 
sins — was much sought after in antiquity 
for purposes of burial, and that to the 
supposed property of this stone of con- 
suming the flesh of the body, is due the 
word sarcojjJiagus (flesh-eating), as applied 
to a stone chest to receive a dead body. 

Stoa, fronting on the agora terrace, on 
the southern sloj)e of the Acropolis. It was 
327 ft. long and two stories high. The 
lower order was Doric, resting on four 
steps. The interior range of columns was 
very widely spaced, showing that all the 
ceilings were in wood, and holes for the 
ends of the ceiling-beams remain. 

Temple (of Athena ?). on the Acrop- 
olis. It was Doric, hexastyle, perip- 
teral, and had thirteen columns on the 
flanks, on a stylobate of two steps. The 



26 



ASTI 



cella had two columns in antis in the 
pronaos, and no oi^istliodomos. The ste- 
reobate was formed in places by smooth- 
ing off the natural rock. The blocks of 
the stylobate steps were secured by iron 
clamps set in lead. Part of the interior 
of the cella was paved with a mosaic 
in cubes of lilack and white marble. 
The columns had no entasis. In the 
pronaos tliey had eighteen channels, 
in the peristyle sixteen, so placed 
that arrises lay in the axes of the 
plan, instead of channels as is usual. 
The capitals arc wide-spreading, but 
of vigorous outline, witli tliree ap- 
proximately rectangular annulets, 
and an incision at the junction with 
tlie sluxft, the epistyle-beams triple. 
Tlie frieze and cornice present some 
archaic dispositions of design and 
construction. Neitlier mutules nor i-eg- 
uli\^ bore gutta^ The cymatium at tlie 
corners of tlio pediuients was adorned 
witli lion-lieads of archaic type. Over 
the cornices of tlie sides were terra-eotta 
antefixes glazed red and black. The 
roofing -tiles were in terra -cotta, glazed 
black. The temple, built of rough na- 
tive trachyte, was primed with stucco. 
The stylobate of the temple is 40 ft. liy 
100 ft. on the upper stej) ; the cella. 'Zi'> 
ft. by 73 ft. ; the columns, 3 ft. in diam- 
eter, are 8 ft. to 9 ft. from centre to cen- 
tre ; their height is 15 ft. 8 in. ; that of the 
whole order, 22 ft. 3 in. In dimensions 
on the plan, it is almost exactly the same 
as the so-called Tlieseum at Athens. In 
(late, though' it can safely be assigned to 
the VI cent. B.C., Mr. J. T. Clarke places 
it later; making every allowance for its 
provincial position, it must be distinctly 
older than the temple of /Egina. 

A notable feature of this tem])le is the 
highly archaic sculpture of its front and 
rear epistyle and metopes. Seventeen 
fnigments of this sculpture have been in 
the Louvre. Paris, since 1838 ; of eleven 
new fragments, found by the American 



expedition, most are now in the Museum 
at Constantinople, though some of the 
chief pieces are in the Museum of Fine 
Arts in Boston. They are important 
not only as a connected series of archaic 
work, but for exhibiting the influence 




W^^"^^^^ 



i .>A*A^-.^t^\ '^<^ c 



--a,l^ i 




Fig. 19. — Assos, Temple. 

of Oriental elements u^ion Hellenic mo- 
tives, as in the two affronted spliynxes on 
eacli facade. {Hve Fi<j. 19.) 

Theatre. All the upper part of the 
auditorium has perished. The lower seats 
are in place, also the foundations of the 
stage-structu re. Tlie orchestra is un^ja ved, 
and is surrounded by a balustrade. The 
theatre had two iU((zom(itii or horizontal 
passages, and a gallery around tlie toj). 
In plan it is less than a semicircle. 
ASTI, Italy. 

Baptistery. A characteristic example 
of the detached bajitisteries of northern 
Italy. The building is twenty-four sided, 
of brick, with a diameter of about 52 
ft. In the centre is a ring of eight low 
columns carrying stilted round arches, 
upon which is a plain nnljroken wall 
about 32 ft. high, bearing a hemispherical 
vault, covered by a wooden roof. Against 
this wall abuts the encircling roof of the 
round aisle, which is vaulted in trape- 
zoidal compartments. The architectural 
details, wrought on' sandstone, are very 
simple and early in character. It is likely 
that the central octagon was an independ- 
ent structure of the Lombards about which 



27 



ATHENS 



the outer aisle was built, tlie central i^art 
being also carried up considerably later, 
jjerhaps in the x or xi century. 

The Cathedral is a xiii cent, church, 
about 88 ft. wide and 270 ft. long, of 
mixed Eomanesque and Gothic design, 
with some peculiar features. The interior 
is divided into a nave and aisles of seven bays 
each, oblong in the nave and square in the 
aisles, with clustered piers carrying point- 
ed arches. The choir has two rectangular 
groined bays and a polygonal buttressed 
apse, the aisles end in round apsidal chap- 
els, the transept-arms consist each of a sin- 
gle bay with a projecting five-sided apse. 
Over the crossing, which is the fourth bay 
of the nave, is an octagonal lantern with a 
low roof. The west front is divided by 
octagonal buttresses into three compart- 
ments, with three pointed doorways con- 
nected by a blind arcade of tall pointed 
arches. Over each doorway is a wheel 
window, and above all is a low broken 
gable with arched corbel-table. On the 
south wall is a fine late enclosed porch 
with a single pointed doorway flanked by 
grouped columns, caiTying arched cano- 
pies with statues. A detached campanile 
stands on the south side east of the tran- 
sept, with five stories of round-arched win- 
dows in pairs and arcaded string-courses. 
The present church was built mainly in 
the first quarter of the xiii cent, on the 
site of an older (xi cent.) church, some 
fragments of which it embodies. The 
pointed vaults replace those which fell in 
132.3. The south porch dates from 1502. 
The details of the interior shoAv marks of 
the transition from the round-arched to 
the pointed style, while on the exterior 
the two styles are intimately mingled. 

S. Secojstdo. a three-aisled cruciform 
Gothic church, mucli like the Cathedral 
in plan, but smaller, built in the first half 
of the XIII century. The west front is a 
screen with a broad single gable covering 
nave and aisles, and divided by piers or 
buttresses into comj)artments which are 



filled with blind arches. The' aisles are 
lined with polvgonal chapels. 
ATHENS, Greece. 

The Acropolis, or ancient citadel, is a 
flat-topped hill on the southern margin of 
the modern city. It is a platform of lime- 
stone about 200 ft. high, 1,000 ft. long- 
east and west, and less than half as wide 
north and south, inaccessible on all sides 
except the western, where the aj)proach is, 
and guarded by a massive wall, of which 
the northern half is ascribed to Themis- 
tocles and the southern to Cimon. On it 
stand the most famous of the buildings 
of Athens, the Parthenon and the Erec- 
theum, and the remains of the older tem- 
ple of Athena, while the western approach 
is guarded by the Propylaja. At the foot 
of the southern slope of the hill, less steep 
than the north, and under the wall of 
Cimon are, at the east end, the Theatre of 
Dionysos, and at the west the Odeum of 
Herodes Atticus or of Regilla, connected 
by the long stoa of Eumenes {See Figs. 20, 
21). The southern wall serves in great 
part as a retaining-wall for artificial fill- 
ing, and corrects the lack of natural steej)- 
ness on this side of the Acropolis. On 
the face of this wall, immediately over the 
theatre, Antiochus IV., Epiphanes, dedi- 
cated a gilded Gorgon's head resting on 
the ^Egis. Above the theatre, where the 
wall is highest, it is strengthened by eight 
square projecting buttresses of later con- 
struction. The north wall^ or wall of 
Themistocles, contains column-drums of 
Poros, and portions of an entablature in 
Poros except the metopes, which are of 
marble, all these architectural fragments 
coming from the old temple of Athena 
thrown down by the Persians ; and unfin- 
ished column-drums of marble, intended 
for the first Parthenon, begun by Cimon. 
The portions of the wall containing the 
older temple-remains were undoubtedly 
built by Cimon. 

Arch of Hadriak", east of the Acrop- 
olis and close to the temple of Olym- 



28 



ATHENS 



pian Zeus. It is not mentioned by Pan- 
sanias, and may have been built after liis 
visit, or even by one of Hadrian's suc- 
cessors, and it bears inscriptions com- 
memorating the foundation by Hadrian 
of the suburb beyond it on tlie east. The 
monument is 44 ft. 3 in. broad and 59 
ft. liigh. The arcli of the gateway has a 
span of 20 ft. On eitlier side of the road- 
way tlie arcii was adorned with a detached 
Corinthian column. These have now dis- 
appeared, but their bases and the per- 



ils, was occupied by the long stoa or 
porch in which were received the sick 
who sought the aid of the god. In the 
front part of the terrace, some remains of 
the two temples can be traced. The re- 
maining space is shown by inscriptions to 
have been occupied by votive oflerings, 
altars, and trees. The stoa at the back, 
extending along the whole length of the 
terrace, was about 3G ft. deep. Evidence 
appears of its remodelling, both structures 
being Doric. In the interior of the stoa 




1. Parthenon. 

2. Propvlavi. 

3. Temple of Nike Apteros. 

4. Erectheum. 



5. Athena Promaehos. 
(■>. Odeum. 

7. Theatre of Dionysos. 

8. Stoa of Eiimenes. 



^ 



Fig. 20. — Athens, Acropolis. 



tions of entiiblaturc which rested on them 
survive in great ])art. Al)()ve the arch- 
way is an attic showing Miroe rectangu- 
lar openings, of whicii that in the middle 
is surmounted by a pediment. 

AscLEPiEUM or Sanctitauy of Askle- 
pros (/Esculapius), immediately adjoining 
the Dionysiac I'heatre on the west. The 
periholos, Mliieli contained two temples, 
in one of which was an ancient statue 
of the god, occupit'd the eastern and 
lower one of two terraces, about 1(54 ft. 
by 80 ft. The northern portion of the 
terrace, against the rock of the Acropo- 



f()un(]ation-])iers remain of the inner lon- 
gitutlinal row of columns, with a double 
intercolumniation. 

Beule's Gate, discovered by him in 
1853 between two projecting towers at 
the foot of the incline sloping from the 
Propylfea on the west, is now the main 
entrance to the Acropolis. These towers 
were probably built in the first century, 
when the slope was covered with a broad 
flight of roughly worked marble steps, 
to form an approach more in accord with 
Koman ideas of magnificence than the 
old winding Hellenic way. Under the 



a9 



ATHENS 



Prankish rule tlie present connecting wall 
was built of ancient materials, conspicuous 
among which is the entablature of a Doric 
building, used as a frieze across the front. 
The Old Cathedral, called also the 
Catholicon, is a very small Byzantine 
church, whose unrecorded date has been 



painted with figures of the prophets and 
evangelists, and scenes from the life of 
Christ. 

The New Cathedral, much larger, 
aiul built at the middle of this century, is 
basilican in plan, embodying the remains 
of various older buildings, but is notable 




Fig. 21. — Athens, Acropolis. 



variously assigned to the xi, xii. and xtii 
centuries. It is a parallelopiped of white 
marble, 25 ft. by 40 ft., from the middle 
of which rises an octagonal lantern with 
a round dome. The cruciform plan is 
marked by the roofs of the nave and 
transept, rising above the main cornice, 
and ending in four gables. Slender twin 
windows, filled with perforated marble, are 
set in these gables, and single ones in the 
faces of the lantern. Over the doors are 
arches and tympana on heavy lintels in the 
Italian fashion. Above the lintel-course 
tlie upper wall is built of interesting frag- 
ments of antique Greek and early Byzan- 
tine reliefs arranged in panels. Within, 
a vaulted narthex takes a third of the 
church. The short nave and aisles, also 
tunnel - vaulted, are separated by plain 
square piers, though originally four great 
columns supported the dome. There are 
three round eastern apses, of which only 
the middle one projects outwardly in a 
half hexagon, and the whole interior is 



chiefly for the richness of its interior 
decoration. 

Choragic Moxumext of Lysicrates, 
erected in honor of the victory at the 
Dionysia in 335-334 b. c. of the chorus of 
boys supported by him, sometimes called 
the Lamp of Diogenes. It consists of 
a square foundation of Piraic stone, sup- 
porting a circular edifice of Pentelic mar- 
ble. The roof, conical and slightly dome- 
shaped, is cut from a single block of 
marble, and bears an elegant tripartite 
acroterium formed of graceful combina- 
tions of acanthus, designed to support the 
votive tripod awarded as the prize in the 
Dionysiac contest. The frieze of the en- 
tablature bears, delicately carved in very 
low I'eiief, the punishment by Dionysos of 
the Tyrrhenian pirates, who are chastised 
by the god's attendant satyrs, and finally 
changed into dolphins. The entablature 
is supported by six Corinthian engaged 
columns, of which the capitals are treated 
with great refinement, and the attic bases 



30 



ATHENS 



have )io plinth. The intercohxmniations 
were closed by thin slabs of marble, reach- 
ing to the capitals. The remaining space, 
up to the arcliitrave, was filled by a band 
of tripods of simple design, sculptured in 
low relief. The whole of the superstruct- 
ure is much broken ; nevertheless the 
monument is the oldest example of the 
Corinthian order which survives in a state 
approaching completeness. The height 
of the foundation is alwut 13 ft., that of 
the circular superstructure, 21 ft. 4 in.; 
the diameter of tlie latter is 9 ft. 2 in. 

OiiORAGic Monument of Nicias, on 
the south or S. ^Y. slope of the Acropolis, 
restored (1885) by Dori^feld from frag- 
ments in and near the Beule Gate of the 
Acropolis. A number of architrave- 
blocks, with metopes and pieces of the 
cornice in Pentelic marble, and triglyphs 
in Poros limestone, were employed in the 
construction and decoration of this gate. 
The building was erected in 31!) B.C., by 
Nicias, son of Nicodemus, in conimem- 
oi'ation of his victory with a chorus of 
boys. It was in tlie form of a Doric pro- 
style temple, with six columns in front, 
and one, with probably an anta, 
in each flank. The workman- 
ship compares well witli that of 
the Periclean buildings. The 
monument is to be distin- 
guished from the choragic 
monument mentioned by Plu- 
tarch as dedicated by the cele- 
brated general Nicias, within 
the Dionysiac peribolos. It is ^ 



chitectural polychromy, as it 



red ; and the upper moulding of the in- 
side of the architrave, red. 

The Choragic Monument of Thra- 
SYLLUS, dating from B.C. 320, destroyed 
by the Turks in 1826, consisted of an 
entablature borne upon three Doric pil- 
asters, which rested on a stereobate of two 
steps. The architrave bore a dedicatory in- 
scription ; the frieze was ornamented with 
eleven ivy-wreaths in relief. Above the pro- 
jecting cornice there was an attic of three 
steps, upon which was placed a seated fig- 
ure clad in a chiton and himation, with a 
skin about the shoidders — probably Diony- 
sos. On either side stood a metallic tripod. 

The Church of St. Theodore is a small 
13yzantine church of picturesque extei'ior, 
and the jilan which characterizes the later 
Byzantine churches of Greece — a Greek 
cross enclosed in a square, with the arms 
of the cross showing in the ridged roofs of 
nave and transept. Over the crossing, on 
four piers, is an octagonal drum with shaft- 
ed twin windows, carrying a dome with- 
out a cornice. The three eastern apses 
are round within, and polygonal without. 
{Sre FUj. 2.i.) 



^M'^^ 






important for tlic study of ar- 

supplies evidence, according | .[ |' 
with tliat gained at Olympia, 
tluit the triglyph was the only 
member usually painted in a '■ ' 
uniform color. \\\ the present 
case, the triglyphs alone were 
made of the cheap Poros stone, colored 
blue. The mutules also were painted 
blue ; the spaces between them, brilliant 




Fig. 22.— Athens, St. Theodore. 

St. Nicosiedes is another Byzantine 
church similar in character and plan to St, 
Theodore and the Catholicon, 



ATHENS 



DiPTLON Gate, the best preserved of 
tlie ancient gates of the city, and the chief 
gate on the ^Yest side and for the region 
on the S. W., inchiding the Piraeus. 



beautiful temple. From its architectural 
details, its inception must date from the 
later years of the Age of Pericles. It un- 
doubtedly took the place of an ancient 




Fig. 23— Athens, Erectheum. 



Through it passed the sacred way to 
Eleusis. The city "walls here are double, 
the two lines being about 16 ft. apart. 
The outer wall is about 14 ft. thick, the 
inner, which is identified as the wall of 
Themistocles, only 8 ft. Both walls are 
faced on both sides with masonry, and 
have a filling of rubble. The inner wall 
is partly faced with polygonal masonry ; 
the outer is less old, and is built of quad- 
rangular blocks of conglomerate. The 
gate itself has an extended enclosed 
court, more than 130 ft. long, which 
could be barred at both ends, and was 
flanked by towers. The passage is divided 
at both extremities by a massive pier. 

The Erechtheum, or TEiiPLE or 
Erechtheus. the seat, at least after the 
old Temple of Athena had lost its preemi- 
nence, of the oldest and most intimate 
cult of Athena in her capacity as the es- 
pecial protectress of Athens. Very little 
is known regarding the building of this 



temple destroyed by the Persians, and 
very probably succeeded the old Parthe- 
non, which, as is now believed, stood im- 
mediately beside it to the south, as the 
home of Athena the local goddess, while 
the new Parthenon was the ceremonial 
temjjle of Athena as the personification of 
Athens victorious abroad, and become the 
administratrix of a realm. Inscriptions 
shoAV that in 408-7 B.C., the temple was 
still unfinished, and that in 405-4 B.C., 
the west end Avas damaged by a fire. 
Other inscriptions of about the same date 
relate to various details of architecture 
and sculpture. {See Fig. 23.) In plan, 
the temple is an oblong rectangle, with its 
chief or front end turned toward the east, 
Avith porches, in the form of smaller rect- 
angles, joined to it on both north and south 
sides, adjoining the west end. The east 
and south faces are on a level about 10 
ft. higher than the north and west faces. 
The east front consisted of a portico of 



32 



ATHENS 



six Ionic columns, resting on a stylobate 
of tliree steps, which are continued 
around the entire building. The north 
angle column was carried off in the be- 
ginning of the century by Lord Elgin. 
The five remaining columns preserve their 
architraves and two blocks of tJie frieze 
of black Eleusinian marble. The porch 
on the south side is the famous Porch 
of Caryatids, of wliich the entablature, 
lightened of its frieze, but with enriched 
cornice, is supported on the heads of six 
sculptured maidens, majestically draped 
— four in front, and one on either side. 
The Caryatids stand on a parapet or 
balustrade 8 ft. (J in. high. The parapet 
was interrupted next the wall on the east 
side, to give access to a flight of steps 
leading to the westernmost division of the 
interior. The north side of the temple 
is approached from the east by a flight of 
twelve steps in the open air. The deep 
north porch was supported by six great 
Ionic columns, larger than those of the 
east front and placed, like the Caryatids, 
four in front and one on either side. The 
western hall of the temple is entered from 
this porch by a door of large size fa- 
mous for its admirable design. A small- 
er door in its back wall leads into a space 
which was in antiquity an enclosed court, 
in which grew the sacred primeval olive 
of Atliena, and where were lodged the 
two noble maidens who succeeded their 
predecessors every year in the service of 
tlie goddess. TJie west face of the tem- 
ple had four Ionic engaged columns stand- 
ing on a higli wall between pihisters at 
the angles, the intercolumniations being 
closed by a wnll and the three middle 
ones pierced by windows with slightly 
converging jambs. 'I'hc ])lain walls of 
the building are surrounded beneath the 
architrave l)y an antheniion moulding, con- 
tinued, as a n(>cking. on the pilasters and 
around the columns. The ornamental 
mouldings throughout the temple arc at 
once elaborate and of tbe utnu)st reiine- 



ment. The material of the temple 
throughout is Pentelic marble, with the 
exception of the black marble frieze and 
the Piraic limestone of the substructions. 
The interior has been entirely ruined by the 
violence of Christian and Turk and the 
fortune of war ; but approximate certainty 
has now been attained as to its arrange- 
ment. It comprised three main divisions : 
the eastern cella, which was the temple 
proper of Athena Poliae, and contained her 
heaven-given image, before which burned 
the eternal fire in the golden lamp of Cal- 
limachus ; a middle division, also a cella, 
sacred to Poseidon and Erechtheus, with 
whom were associated other divinities and 
heroes ; and the western hall, which was 
entered from the south by the caryatid 
porch and served as a vestibule, was prob- 
ably divided from the central cella by 
some kind of screen which admitted the 
light of the west windows. This cella 
communicated with the east cella by 
a stairway ; and under its north side 
was a crypt, presumably the home of 
the Erichthonios serpent, communicating 
with a recess beneath the iiavement of 
the north porch, at the bottom of which, 
in the li ring rock, still appears the 
miglity Lrident-stroke which evoked the 
sea-spring of Poseidon. But little re- 
mains, apart from the Carj-atids, of the 
plastic decoration of the Erechtheum. 
'J'lie pediments were never filled with 
sculpture ; but an extensive series of re- 
liefs cut in Pentelic marble was fixed upon 
the black ground of the frieze. Interest- 
ing details of the cost of these reliefs are 
preserved in inscriptions, and a number of 
fragments of them have been found, and 
are now in the Acropolis Museum. The 
dimensions of the temple are small, the 
body of the temple being only 37 ft. by 
(!C| ft., and the cohunns of the east portico 
22 ft. 4 in. high, with a lower diameter of 
2 ft. 5| in. 

FouNTAix KLEPSvnRA, at the N. W. 
foot of the Acropolis beneath the Propy- 



S3 



ATHENS 



IfBa. It is approached from above by 
sixty - nine steps, partly restored, and 
partly rock-cut. These steps lead to the 
Byzantine Chapel of the TAvelve Apostles, 
about 18 ft. long and 6 ft. 6 in. wide, with 
dilapidated wall-paintings. In the S. W. 
corner of the chapel a small circular well- 
hole about 33 ft. deep gives access to the 
fountain, of which the ancient rectangular 
basin is enclosed with marble slabs. 

Gate op the New Agora, or Oil Mar- 
ket, dedicated to Athena Arclie- 
getis (the Founder or Ruler). 
The portion that survives is of 
marble, and consists of four 
Doric columns sujiporting an 
architrave and triglyph- frieze, 
and a pediment which is almost 
complete, together with the 
southernmost of the four antte 
which originally formed three 
doorways within the portico. 
The width of the portico is 36 
ft. 6 in. The columns, which 
are formed of six drums and 
have twenty channels, are 25 ft. 

10 in. high, and 4 ft. in diam- 
eter at the base. The middle opening is 

11 ft. 2 in., to admit of the passage of 
vehicles, while the side intercolumniations 
are 4 ft. 8 in. The monument is shown 
by an inscription on the architrave to have 
been built in the time of Augustus from 
gifts made to the city by Julius Csesar and 
Augustus. On the left of the middle 
passage, a massive slab of marble still 
stands in its original place, bearing an 
edict of Hadrian regulating the prices of 
oil and salt, and various other matters. 
Remains survive of the ranges of columns, 
in blue Hymettian marble without flutes, 
with Ionic capitals in Pentelic, which once 
skirted this agora. From the position of 
these columns the agora must have been 
about 325 ft. long and 200 ft. wide. 

HoROLOGiUM OF Andkonicus, common- 
ly called Tower of the Winds. This build- 
ing, erected in the first century B.C., is 



of marble, octagonal in plan, 2G ft. in 
diameter, and 42 ft. in height, including 
the stereobate of three steps, to the to^) of 
the cornice decorated with lion -heads. 
There are doors on the N. W. and N. E. 
sides, originally with porches of two 
Corinthian columns, of which capitals, of 
highly simplified form, survive. On the 
upper part or frieze of each of the eight 
sides, is a relief, of bold but rather coarse 
design, of a winged figure representing the 




Fig. 24. — Athens, Horologium of Andronicus, or Tower of Ihe Winds. 

wind of the corresponding quarter of the 
horizon, the names being incised beside 
the figures. Beneath the reliefs are cut 
lines for sun-dials of twelve hours. The 
pyramidal roof is formed of marble vous- 
soirs with a circular keystone. On tliis 
once stood a brass figure of a Triton 
holding a staff, which served as a wind- 
vane. On the south side projects a tur- 
ret of semicircular plan which contained 
a M'ater-tank, sujiplied by a covered con- 
duit. This served for the Avater-clock, 
of uncertain construction, which was con- 
nected with the building. {See Fig. 34.) 
Close to the Horologium, two arches and 
a fragment remain, with foundations in- 
dicating the presence of a hall or porch of 
Roman construction. Inscriptions upon 
fragments of the frieze show that the 
building, like the gate of the New Agora, 
was dedicated to Athena Archegetis, to- 

34 



ATHENS 



getlier with members of the Roman im- 
perial family. 

MOKUMENT OF AXTIOCHUS PhILOPAP- 

PUS, grandson of Antiochus IV., Epi- 
phanes, king of Syria, erected between 
114 and IIG a.d., on the summit of the 
Museum Hill. The fac^ade, turned tow- 
ard the Acropolis, is slightly concave, the 
original length of its chord being about 
33 ft., of which about two-thirds remain. 
The total heiglit is about 41 ft. The 
base is formed of five courses of Piraic 
limestone, on which is a band of Hymet- 
tian and Pentelic marble, over which, 
again, is a frieze of marljle, i) ft. 2 in. 
high, bearing a badly damaged relief reji- 
resenting Pliilopappus in triumph on a 
quadriga, aud extending the whole widtli 
of tlie monument. At either side was a 
pilaster, and above is a cornice of l)old 
projection. The? upper portion of the 
mouunu'iit was divided into three niches, 
of wliicli the outer two were quadran- 
gular, and tlu^ middle one round. Tlie 
two surviving niches on the left contain 
statues of male vestsd figures. Inscrip- 
tions record the titles and qualities of 
Philopap2)us, and of the kings, his ances- 
tors. The rear of the monument is in a 
ruinous condition ; it probably included 
a quadrangular structure containing the 
place of sepulture. 

OnEfM OF IIegill.v or TiieatpvE of 
IIkuodks, at the S. W. angle of the Acrop- 
olis. Pausanias does not mention it 
in his account of Athens, and says else- 
where that it was not begun at the time 
of his visit. It was considered the finest 
building of the kind in Greece, was entire- 
ly roofetl with cedar, and was erected by 
llerodcs Atticus botweou IGO and 170 
A.I)., in memory of his deceased wife 
Kegilla. Its massive remains were gener- 
ally considered, down to the time of 
Chandler, to be the Theatre of Dionysos, 
an error adopted even by Stuart. The 
interior was excavated in 1857. Its great- 
est diameter within tlie M'alls is about 2C>2 



ft. Its capacity is reckoned at 10,000 
spectators. Its seats were divided by one 
precinction (diazoma) ; the lower tier had 
twenty rows divided into five cunei, the 
upper, which is in great part destroyed, 
about thirteen, divided into ten cunei. 
The height of the seats is 1 ft. 5 in., and 
in profile they resemble those of the Dio- 
nysiac theatre. The seats of the lower 
tier were seats of honor, with backs. A 
gallery ran round the top, enclosed by a 
massive semicircular wall of Piraic stone, 
on which the roof rested. The orchestra, 
rather more than a half circle, is paved 
with rectangular slabs of ditt'erent colored 
marbles. At either side are exit-passages 
{j)ar(idoi) along the stage-wall, leading 
down by easy steps to doorways opening 
upon vestibules tlirough wliich one can 
pass out to the south. The stage is about 
ll.") ft. long and 2^') ft. deep, and is raised 
5 ft. above the orchestra, witli which it 
communicated by two fiights of steps. 
The front wall of the stage was ornamented 
with slabs and mouldings of marble. In 
the rear wall of the stage are three doors, 
the side doors flanked by arched niches for 
statues. A row of columns about 17 ft. 
liigh ran across the widtli of the stage. 
Upon their entablature probably stood a 
second row of smaller columns, in front 
of the seven arclied windows of the sec- 
ond story. Above, some remains survive 
of a third story, also with windows. In 
each wing of the building in the second 
story are two vaulted rooms, communi- 
cating with the orchestra, the stage, and 
the precinction of the auditorium. The 
most eastern of these rooms oi)ened direct- 
ly upon the great stoa or poi'tico connect- 
ing the Odeum and the Dionysiac Theatre. 
The exterior face of the back wall of the 
stage bears also six niches for statues. 
Tlie exterior wall of the two wings is 
plain below, and shows two upper tiers of 
arched openings, as high as the ujoper- 
most seats of the auditorium. The 
masonry of the building is very fine and 



ATHENS 



massive, the stone blocks large, and the 
Joints carefully cut and fitted. 

OlyiMpieum. See Tejiiple of Zeus 
Olyinjjio,s. 

The Paistathen'aic Stadium, on the left 
bank of the Ilissus, S. E. of the city, was 
completely excavated by Ziller in 1869- 
70. The natural conformation of the 
ground, a valley open toward the Ilissus, 
was exactly suited for a stadium. Lycur- 
gus, the orator and treasurer of Athens in 
the middle of the iv cent. B.C., surrounded 
the stadium with a stone coping. Five 
centuries later Herodes Atticus provided 
it throughout with marble seats and 
built several costly buildings on the sur- 
rounding heights — among them, a tem- 
ple of Tyche (Fortune), in which was 
placed a statue of the goddess in ivory. 
The whole was a subject of wonder to his 
contemporaries, and when he died, he was 
buried by tlie city within the stadium 
itself. All of Herodes's marblework has 
gone to feed neighboring lime-kilns. The 
Avliole length of the level course of the 
stadium, from the enclosing-wall at the 
north end to the arc of the terminating 
half-circle, or sphendone, opposite, is 670 
ft. ; the breadth is 110 ft. The goal stood 
at the centre of the half-circle forming 
the southern end. The foundations and 
some slabs of the marble barrier which 
enclosed the course still exist at the 
innermost end, and traces appear of a 
metal grating surmounting the barrier — 
no doubt for the security of the spectators 
during the animal-shows which were in- 
stituted here by the Eomans. The tiers 
of seats were over fifty in number, and 
could receive from 40,000 to 50,000 s|)ec- 
tators. Traces survive, in front of the 
north end, of a portico and of buildings 
intended, no doubt, for gymnastic exer- 
cises. 

The Pakthenon, or Temple of Athena 
Parthenos (Pallas the Virgin), occupies the 
higliest part of the Acropolis, toward the 
south side. It was built by Pericles, un- 



der the supreme artistic direction of 
Phidias, with Ictinus and Callicrates as 
architects. The exact dates of the con- 
struction are not finally determined ; but 
the work extended from between 454 and 
447 B.C. to 434. The Parthenon took the 
place, with somewhat altered proportions, 
of a temple begun on the same site by 
Cimon, after the Persian wars. As to 
its later history, there is a record of re- 
l^airs in 341 B.C. and at various other 
times ; in 304 the Macedonian general 
Demetrius appropriated the rear-chamber, 
or treasury, as a dwelling for himself ; 
in the v or ti cent. a.d. it became a 
Church of the Heavenly Wisdom, later of 
the Theotokos (Mother of God) ; in 1200 
it was consecrated under the Latin rite ; 
in 1400 it was converted into a mosque ; 
in 1687 a bomb thrown by the Venetians 
under the captain - general and future 
Doge Morosini and the Dane Ka?nigs- 
marck fell in a powder magazine estab- 
lished in the temple, and destroyed the 
middle portion of it ; and in the begin- 
ning of the present century it was further 
damaged by Lord Elgin, who shattered 
and threw down blocks of the cornice 
in order to carry off the metoi^es, and did 
other injuries. When the temjale was ap- 
propriated as a churcli, it suffei'cd mu- 
tilation in the transfer of its chief en- 
trance to the west end, the construction 
of an apse in the jironaos, and the altera- 
tion of the roof and the interior columns 
of the cella. The Turks, in turn, built a 
minaret in the southern side of the west- 
ern inner portico. The Parthenon is 
Doric, octastyle, peripteral, with seventeen 
columns on the flanks, enclosing a cella 
which is amphiprostyle liexastyle. The 
interior of the cella was divided into three 
aisles by two rows of nine small Doric 
columns with a pier at the west end of 
each row, and a transverse row of three 
columns between the ^^iers. These col- 
umns supj^orted galleries over the side- 
aisles, and Avere surmounted by a second 



36 



ATHENS 



range of columns. The ceiling of tlie eel- 
la was of wood. The base for the great 
chryseleiihantine statue by Phidias stood 
in a line with tlie seventh and eighth in- 
terior columns counted from the east. The 
treasure-chamber, or Parthenon proper, 
behind the cella had a coffered ceiling of 
marble, supported by four Ionic columns. 
Tlie building was entered by great double 
doors, probably of metal, oijening on the 
pronaos and epinaos, or rear vestibule. 
The entire temple was of Pentelic marble, 
with the exception of the roof-tiles of 
Parian. It represents the final develop- 
ment of Doric architecture, tempered 
with graceful Ionic decorative motives. 
All the liorizontal lines are slightly con- 
vex upward ; the columns are all inclined 
sliglitly inward, and wliile decreasing in 
diameter from base to neck, show in out- 
line a slight swelling (entasis), which is 
greatest at about one-third of the heiglit. 
Tlie intercolumniations next the angles 
are a little narrower than the others, and 
tlie angle-columns are a very little heavier 
than the others. The joints of the stones 
are so perfect that, where they remain un- 
disturbed, in no place can the finest knife- 
blade be inserted in them ; and frequently 
they are actually invisible. The manner 
in which the temple was lighted is a sub- 
ject of controversy. It is hardly probable 
that the cella received its only natural light 
by the east door. The advocates of the 
liyp;>3tliral theory hold that a large section 
of the roof was omitted in the middle. A 
plausible theory is that comparatively nar- 
row channels were left o})en in the roof 
over the galleries, which would admit 
light with excellent effect, while what 
water might penetrate would be com- 
])aratively easy to deal with. The plastic 
decoration of the Parthenon consisted 
of : 1. The sculptures in the round of 
the pediments. 2. The metopes. 3. The 
frieze of the exterior of the cella. 4. 
The chryselephantine statue of Athena 
Parthenos — the tutelary goddess of Ath- 



ens. What remains of the pediment 
statues ranks as the ideal of sculpture. 
The group in the east or chief pediment 
represented the birth of Athena, among 
the assembled gods of Olympus. That in 
the west pediment exhibited the dispute 
between Athena and Poseidon for suprem- 
acy in the land of Attica. There were 
seventy-eight metoj^es — fourteen on each 
end, and thirty-two on each side of the 
temple — carved with figures in very high 
relief, in general two figures on every 
metope. The subjects comprise : the 
Gigantomachy, or contest between gods 
and giants ; the fight between Centaurs 
and Lapiths ; the war between the Athen- 
ians and the Amazons, and the destruction 
of Troy. The frieze surrounds the whole 
of the cella with a continuous scene in 
very low relief, representing the solemn 
Panathenaic i:)ageant, beginning at the 
S.W. angle and advancing simultaneously 
along the west and north and the south 
sides to culminate in the presence of the 
assembled gods on the east front. The re- 
lief is wrought with the greatest delicacy, 
its extreme projection being only about 
two inches. The gold and ivory statue 
l)y Phidias, represented Athena standing, 
wearing the helmet and a^gis, holding with 
her left hand her spear and shield resting 
on the ground, and bearing in her right 
hand a winged Victory turned partly toward 
her and extending a garland. Behhid the 
shield was coiled the autochthonous ser- 
pent of Athens, Erichthonios. The prin- 
ciples of polj'chromy were applied in the 
Parthenon. The remains of the colors 
are too faint and partial to admit of a re- 
constitution of the entire system ; but it 
is at least safe to assume that the tri- 
glyphs were painted blue, and the field of 
the metopes and the tympana of the ped- 
iments red. Elaborate frets and other 
designs still appear painted on various 
members of the architecture, though the 
colors have faded ; and there is no doubt 
that the sculptures ■were colored in more 



ATHENS 



or fe\ver details. But it is still a matter 
of disjjute what portions of the monument, 
if any, were left of the natural hue of the 
spotless Pentelic marble, or were merely 
faintly tinted in monochrome. In its mar- 
vellous subtlety, refinement, and science 



11 in. The height of the columns is then 
very nearly of diameters, and 3;^ times 
that of the entablature. The metopes, as 
high as the frieze, are nearly square, being 
4 ft. 2 in. broad on the average ; the 
sculptured frieze of the cella is 3 ft. 3 in. 




Fig. 25.— Athens, Parthenon. 



of proportions, its unapproached perfec- 
tion of execution, and the magnificence, 
yet unerring subordination to general ef- 
fect, of its decoration, the Parthenon was 
the supreme work that G-reek genius cre- 
ated. Its sculptures to-day, fragmentary 
and mutilated as the violence of men has 
left them, exhibit the consummation of 
art. They have never been equalled ; and 
it is not possible to conceive that they 
can be surpassed. Its principal dimen- 
sions are these, omitting insignificant 
fractions : — The top of the platform, or 
crepidoma, is 101 ft. by 238 ft. , its three 
steps are each 21 in. high. The average 
height of the columns of the peristyle is 
34 ft. 2 in., their average diameter at the 
base 6 ft. 3 in., at the neck 4 ft. 10 in., 
the interval between them 7' ft. 4 in. 
on the fronts, and 8 ft. 2 in. on the 
flanks. The main entablature is 10 ft. 9 
in. high, of which the architrave and 
frieze are each 4 ft. 5 in., the cornice 1 ft. 



liigh and its whole length 523 ft. The 
height of the statue of Athena, with its 
pedestal, is estimated at 40 ft. {See Fig. 
25.) 

[ISToTE. — An examination of the founda- 
tions of the Parthenon in 1835 by Boss 
showed that the present temple had taken 
the place of an older one built of Poros 
stone, and archgeologists accepted his 
conclusions that the original temple of 
Athena had stood in the place of the 
Pai-thenon, had been destroyed by the 
Persians, and then replaced by the Par- 
thenon. But in 1885-87 Dr" Dorpfeld 
and Mr. Kavvadias excavated and exam- 
ined old foundations -and remains between 
the Parthenon and the Erechtheum, by 
which Dr. Dorpfeld was led to the follo^?- 
ing conclusions : that an archaic Doric 
tem2)le of Athena was built in that posi- 
tion before the time of Pisistratus, and 
consisted of a cella and opisthodomos in 
mitis ; that Pisistratus added a peristyle 



ATHENS 



to it, and adorned it with sculptured 
pediment find metopes ; tliat this temple 
was destroyed hy the Persians, and at 
once rebuilt in its simple older form ; that 
then a new temple of Poros was begun 
beside it under Cinioii, which was the 
predecessor of the present Parthenon, and 
the one of which indications were discov- 
ered by Ross, but that before it was fin- 
islied this was removed as inadequate, to 
make room for tlie more splendid temi^le 
built by Pericles ; and finally that mean- 
while the Erechtheum was built close 
against the old teiiipk', to receive tlie 
images and relics which it held, when it 
sliould be piilled down, as was then in- 
tended, but that the t)ld temple was i)re- 
served, presumably through intercession 
of the priests, for the worship of Atlicna, 
after the later temples were built. Later, 
]\Ir. Penrose has examined the site, and 
has publislied (in 180:^) liis conclusion that 
the original temple of Athena occupied 
the site of tlic Parthenon, was built and 
linished before tlie Persian war and de- 
stroyed by the Persians, as had been be- 
fore believed ; and that its renuiins survive 
in the Doric fragments which are assigned 
by Dr. Dorpfeld to the archaic temple ad- 
joining the Erechtheum. Here tlie ques- 
tion rests at present, hut with a prepon- 
derating belief of archa3ologists in favor 
of Dr. Dorpfeld's theory.] 

The Puoi'YL.TEA, or monumental gate- 
way of tlie Acropolis, was built under tlie 
administration of Pericles by Mnesiclos. 
Work on tlie building was interrupted in 
432 B.C., by tlie preliminaries of the 
Peloponnesian M'ar, and it was never re- 
sumed ; the design was thus only in part 
carried out, and the portions completed 
never received the finishing touches. The 
Propyla^a includes the gate proper, flanked 
by two Avings on the south and north, pro- 
jecting toward the west, and the advancing 
porticoes from which it gets its name. It 
occu])ies the entire width of tlie slope by 
which tlie Acropolis is accessible from the 



west, from the Nike bastion on the south to 
the steep cliff on the north. The west side 
is supported on considerable substructions 
of masonry, mostly increasing in height 
toward the north. The entrance proper 
consists of a portico of six Doric columns, 
on a stylobate of four steps, which is in- 
terrupted in the middle to afford a passage 
for tlie inclined roadway by which sacrifi- 
cial victims and perhaps chariots made 
the ascent in antiquity. The middle in- 
tercolumniation has an interval of two 
triglyphs, in order to give space for this 
passage. On either side of the portico 
there is a plain wall, and in the middle, 
bounding the inclined roadway, three tall 
slender Ionic columns on both the north 
side and the south, the capitals being of 
noteworthy purity of design. The back 
or east wall of the portico, raised on five 
steps, is pierced with five doorways corre- 
sponding to the intercolumniations of the 
front, the middle one being the highest 
and widest, and those on either side de- 
creasing. These doorways open into the 
east portico, which is of less depth than 
that on the west, and has a front with six 
great Doric columns very similar to those 
of the west portico. The wings have each 
a Doric portico of three columns, facing 
each other at right angles to the main 
west portico, the proportions being har- 
moniously reduced from those of the lat- 
ter. The north wing has behind the 
portico a rectangular room with a door 
flanked by two windows, identifled Avith 
the ancient Pinacotheca, or hall of paint- 
ings. The south wing is much shallower, 
and has no partition ; it is probable that 
it was designed to corresjiond more closely 
with the north wing, and that it must 
have been curtailed from opposition of 
the priests to further interference with 
the adjoining consecrated sites. The 
Propylfea seems to have been entirely 
devoid of carved ornament, beyond a 
few simple mouldings, and the indispen- 
sable elements of the orders employed. 



89 



ATHENS 



There was never any sculj)ture in the pedi- 
ments, but tlie perfection of execution 
and the refinement of proportions through 
every detail of the building have never 
been surpassed, and probably only once or 
twice equalled. The material is Pentelic 
marble, with a bund of black Eleusinian 
marble beneath the windows of the north 
wing, the same material being used in the 
door-sills, and for the base of the walls of 
the main building. The foundations are 
of Piraic limestone. The cofEers of the 
ceiling were painted blue, with stars or 
anthemia in gold. A stone seat is carried 
around the walls of the porticoes. The 
ceiling of the Pinacotheca was of wood. A 
noteworthy peculiarity is that the metopes 
and triglyphs of the frieze are carved on 
the same block of marble, instead of being 
as is usual before the decadence, formed 
of separate blocks. The Doric columns 
all have twenty channels, aiid the Ionic 
columns twenty-four flutes. On the east, 
the original design provided stoas to ex- 
tend from the central portico north and 
south to the Avails of the Acropolis. The 
antaj for these stoas were built on either 
side of the main portico, as well as a por- 
tion of the west wall of the northern stoa. 
The southern stoa would have covered a 
considerable portion of the temenos of 
Artemis Brauronia, and necessitated the 
removal of the old Pelasgic wall and other 
venerated relics. It is therefore obvious 
that the priests must have opposed its con- 
struction, just as they must have caused 
the existing south wing to be mutilated in 
its execution. The principal dimensions 
are : height of columns, west portico, 29 
ft., diameter at base, 5 ft. 3 in., at neck 

3 ft. 11 in. ; width of portico, 59 ft. 6 in.; 
width of central passage, or ramp, 12 ft. 

4 in., main doorway over it, 13 ft. 9 in. by 
24 ft. 2 in. The columns of the Ionic 
order are 33 ft. 9 in. high, their diameter 
at base 3 ft. 2 in., their architrave 2 ft. 
10 in. 

Some foundations of the older Propy- 



Isea and an anta remain behind the south 
wing of the present. The old entrance 
appears to have had the form, usual in 
Greek fortifications, of an outer and an 
inner gate, with a court between them. 
It entered from the southwest. 

Ship-houses in the Piraeus excavated 
in 1885-1886, on the shore of the S. E. 
harbor (Zea or Munychia) near the east 
side of its entrance. The remains of 
eleven of these houses have been in part 
explored. They were arranged side by 
side in pairs, every pair under one roof or 
shed, supported at the sides and in the 
middle, between the two adjoining houses, 
by parallel ranges of columns, and enclosed 
on the land side by a massive wall. The 
width of the houses varied slightly, but 
was about 21 ft., and the back wall is at 
an average distance of about 100 ft. from 
the water. The central portion of each 
was occupied by an inclined plane, about 
10 ft. wide, on which was drawn up the 
galley which was housed there, and at 
the land end about 17 ft. above the water- 
level. Some of these inclined planes were 
hewn in great part from the rock ; others 
were built uj) of masonry. The remains 
extend out in the water of the harbor to a 
distance which is not yet determined. 

The Statue of Atheka Pkomachos 
(Pallas, as Protectress, Fighting in Front), 
in bronze, by Phidias, from the s^joils of 
the Persians, placed between the Erecli- 
theum and the Propylsea, was of such 
size that the gleaming point of the lance 
which the goddess held resting on the 
ground beside her formed a landmark be- 
side the Parthenon for seamen approach- 
ing from the direction of Sunium. 

Stoa of Attalus, on the east side of 
the agora, built by Attalus II. of Pergamon 
(159-138 B.C.). It was erroneously iden- 
tified by Leake, and others, with the 
Gymnasium of Ptolemy. Its identity was 
established by the discovery of a part of the 
dedicatory inscription on the Doric epi- 
style. The portico consisted of two stories, 



40 



ATHENS 



open and supported on columns on the side 
toward tlie agora. The lower front range 
was of thirty-five Doric columns resting on 
a stylobate of three steps. There were two 
inner ranges, also of thirty-five columns, 
the outer one of these being Corinthian, 
the inner Ionic. The colonnades of the 
upper story M'ere of similar plan, but 
formed of rectangular pillars flanked by 
semi-columns. Behind the columns were 
twenty-one chambers, serving probably as 
shops or as places for storage. The entire 
depth of the stoa was G3 ft. 9 in. ; its 
lengtli was 387 ft. The north end-wall 
lias marble scats, arranged as a kind of 
exedra. In front of the stoa the Roman 
generals erected a bema or tribune for the 
promulgation of public notices. 

Stoa of Eumen^ks, of two aisles, ex- 
tending between the Theatre of I)ion3'sos, 
and the Odeum of Kegilla. Along the 
whole of the terrace at the foot of the 
Acropolis is carried a retaining - wall, 
strengthened by projecting buttresses con- 
nected by arches. Immediately in front 
of this wall, and masking it, was the rear 
wall of tlie stoa, which was 535 ft. long 
and about 53 ft. deep. The limestone 
fouiulations of the front of the stereobate 
remain in great part, as well as the quad- 
rangular stone bases of an inner row of 
columns, and portions of the side and rear 
walls, which had a podium of llymettian 
marble. The roof was of wood. The 
wall of the stoa corresponds exactly with 
the line of the chord of the cavea of the 
Odeum of Kegilla. It had direct com- 
munication with the Odeum by means of 
a door, and may have been connected with 
the upper part of the cavea of the Diony- 
siac Theatre by means of a flight of stairs. 
Tlie retaining-wall. IVoiii its construction, 
was undoubtedly built at the same time 
with the stoa, hut must have replaced an 
older wall. 

Stoa of the Giaxts (so-called), with- 
in the old area of the Agora, between the 
Stoa of Attains and tiic so-called Tlie- 



seum. The remains are of late Roman 
date, or even later. Four great founda- 
tion-piers of very rude construction sup- 
port rectangular bases of marble, of 
rough workmanship. The fronts of these 
bases are carved each with a serpent en- 
twined about an olive-tree. On the bases 
stand pillars of some height, and on the 
pillars colossal male figures, the lower 
part of the body of fantastically contorted 
serpent-form. The heads are gone, and 
the arms seem to have been raised to sup- 
port an epistyle in the guise of Atlantes. 
The figures are of much superior work- 
manship, and doubtless of earlier date 
than the rest. The three entrances be- 
tween the four piers apparently led into 
a rectangular hall with rooms opening 
into it on either side. There are traces 
of a fountain, and perhaps of a bath. 

Stoa of IIadkian, the modern name 
for the ruin of which the most prominent 
fragment is a high Avail in front of which 
stand seven monolithic Corinthian col- 
umns of Karystos marble, 28 ft. high, op- 
posite the modern bazar. It formed a 
part of the Gymnasium of Hadrian, which 
is now lost among the buildings of the 
modern city. 

Temple of ATnEXA. See Parthenon. 

The Temi'le ox the Ilissus, perhaps 
to be identified as the Temple of Eukleia, 
was destroyed by the Turks in 1780, in 
building fortifications, fortunately not 
until Stuart had measured and drawn it. 
It was Ionic, amphiprostyle, on a crepi- 
doma of three steps, with four columns in 
front and rear. On the east side, the cella 
walls were carried forward, forming a ^ro- 
naos with ant;\? corresponding to the angle- 
columns. At the west end there were 
merely autas, with no opisthodomos. The 
tcmjile was dedicated by tlie Christians as 
a church. 

The Temple of Nike Aptekos (the 
Wingless Victory, or xithena as Goddess 
of Victory), occupies the top of the bastion 
or pyrgos in front of the south wing of 



ATHENS 



the Propyl^a. Tlie little temj^le, of Pen- 
telie marble, is Ionic, amphiprostyle, tetra- 
style, upon a crepidoma of thi"ee steps, the 
lowest projecting less than 3 in. The 
stylobate is 37 ft. long and 17 ft. 10 in. 
Avide. The total height of the colnmns 
is slightly over 13 ft. ; they are stout and 
taj)ering, their bases are high, and of 
somewhat archaic design, and the capitals 




Fig. 26.— Athens, Temple of Nike Apteros. 

also are large in proportion. The shafts 
have twenty-fonr flutes, and the inter- 
col umniation is 5 ft. 3 in. The archi- 
trave is divided into three bands project- 
ing one over the other. The frieze bears 
figures in high relief, and though much 
damaged nearly all survives. Several of 
the sculptured slabs are in the British 
Museum, and are now represented on the 
temple by casts. The subjects include an 
assembly of the Gods (east front), and 
battles of foot-soldiers and cavalry, some 
of the combatants wearing the Persian 
dress. The pediments were not filled with 
sculpture. The cella measures within 13 
ft. 5 in. long and 13 ft. 9 in. wide. It is 
not closed by a wall on the front, but has 
two piers with a space 4 ft. 7 in. between 
them for the door, anciently fianked by 
metallic gratings. It contained the statue 
of Athena Nike. Blocks of Poros stone 
in the pavement before the temple doubt- 



less mark the position of the altar. The 
architectural relations of the bastion with 
the Propylsea, show that the plans for this 
temple must have been made before 433 
B.C., when work on the Propylsea was 
closed. During the siege of the Acropolis 
in 1687, the temple was entirely pulled 
down by the Turks, and the materials 
were used for the construction of a bat- 
tery. In 1835 the Ger- 
man architects, Schau- 
bert and Hansen, recov- 
ered almost all the 
stones, and set up the 
temple again on its 
ancient site, as it now 
stands. The so - called 
balustrade consisted of 
slabs of marble placed 
upright along the three 
free sides of the temple 
bastion, and bearing on 
the outer side sculpture 
in high relief represent- 
ing subjects connected 
with the cult of the god- 
dess Victory. One of these balustrade 
subjects is the famous Victory loosing her 
Sandal. The lack of simplicity in design, 
and the research of transparency in the 
draperies, show that this balustrade is of 
later date than the v cent. B.C. It prob- 
ably replaced an earlier balustrade which 
was presumably without sculpture. A 
metal grating was fixed on the top of it, 
and was carried across from both sides on 
the east, so as to enclose the temi^le. {Sec 
Fig. 26.) 

Temple of Zeus Olympios (Olympian 
Jove), or the Olympieum, S. E. of the 
Acropolis, near the bank of the Ilissus and 
the Fountain of Callirrhoe. The site was 
very anciently held sacred, as that where 
Deucalion offered thanks to Zeus after the 
flood. The earliest temple here of which 
we have historic knowledge, founded by 
Pisistratus, about 530, was left unfinished 
by the expulsion of the Pisistratids in 



42 



ATHENS 



510, and taken up again by Antioclius 
IV., Epiplianes, on a magnificent scale, 
about IT-i B.C., with tlie Roman Cossu- 
tius as architect. lie built the Corin- 
thian dipteros, and gave the temple its 
definitive form. In 80 B.C., Sulla car- 
ried of? to Rome, for the Capitoline tem- 
ple of Jove, some columns possibly from 
the foundation of Pisistratus, or perhaps 
copied after those belonging to it. Final- 
ly Hadi'ian undertook the comi)letion of 
the building in a st3de of lavish splen- 
dor. He gave the great chryseleiihantine 
statue of Zeus, which was excelled in size 
only by the colossi of Rhodes and Rome. 
The temple, dedicated in 150 or 1.30 a.d., 
had two ranges of columns on the flanks 
and three on the ends, besides columns be- 
tween the antae of pronaos and opisthodo- 
mos. It had eight columns in front and 
rear, declared Dorpfeld in 188G ; con- 
trary to the formerly received opinion 
that it had ten columns on the euds. 
Many authorities give the number of col- 
umns on the flanks as twenty-one, biit the 
number twenty was determined by Revett 
in 17G5. The Corinthian columns are of 
Pentelic marble, with twenty-four flutes ; 
height, 5G ft. 7 in., including capital (0 ft. 
7 2 in.), and base (3 ft. 9| in.) ; diameter, 
above base, 5 ft. 7 in., beneath capital, 4ft. 
lOg in. ; the entasis more marked than was 
usual at the best time, the intercolumna- 
tion, 9 ft. 7 in. The length of the temple 
is given as 353 ft., its breadth as 13-4 ft. 
The temeiios, (JlG ft. by 43G ft., was 
adorned with a great number of statues of 
Hadrian dedicated by many (irecian states, 
together with other statues and monu- 
ments. A statue of Hadrian was also 
placed in the cella beside that of Zeus. 
Sixteen columns of the tem])le survive, 
witli a great part of their architrave. TJio 
capitals are cut from two blocks. Three 
blocks side by side form the architrave. 
The temeiu)s is supported on the side next 
the Ilissus l)y a massive retaining-wall 
strengthened by buttresses and 15 ft. high 



at the east end. Upon the establishment 
of the Christian religion, this great temple 
became a church of St. John. The time 
and manner of its destruction are not 
known. For four hundred and fifty years 
it is known to have been substantially in 
its present condition. 

Theatre of Dioxysos (Bacchus), on 
the southern slope of the Acrojjolis, to- 
ward the east end. It was founded in the 
shape in which it now appears early in 
the V cent. B.C. ; and was completed by 
the orator Lycurgus about B.C. 329. The 
stage and orchestra were' remodelled by 
the Romans. The remains of the theatre 
were excavated between 18G0 and 18G5, 
and again in 1877. The plan of the cavea 
is horse-shoe shaped, and covers two-thirds 
of a circle. At one place, a segment of 
the Acropolis cliff is cut away. The out- 
line on the east side, though now in great 
part destroyed, was manifestly very ir- 
regular. The cavea was divided into thir- 
teen cunei by fourteen flights of steps 
radiating from the orchestra. At about 
two-thirds the distance to the top was a 
horizontal passage formed by permitting 
the old patli skirting the Acropolis to 
pass through the theatre. Nearly all the 
seats, except the lowest tiers, have been 
carried away. They were of Piraic stone, 
about 1 ft. 2 in. high, and 2 ft. 8 in. 
broad, hollowed out on the front face, and 
with a depression at the back for the feet 
of the spectators next above. The lowest 
row next to the orchestra was occupied by 
thrones of Pentelic marble, sixty-seven in 
all, fifty being still in place. The middle 
one, that of the chief priest of Dionysos, 
is richly carved ; it dates from the early 
Roman Empire. The others are older, 
and are set apart, by inscriptions, for 
priests and other dignitaries. Other 
thrones are scattered among the ordinary 
seats, as well as the bases of many statues 
of jioets, among them one of Menander, a 
number of Hadrian, and a large base be- 
hind the throne of the Dionysiac priest. 



43 



ATHENS 



which may have been a place of state for 
the emperor himself. The capacity of the 
theatre was from 27,000 to 30,000 specta- 
tors. The arraugement and remains of 
the cavea belong essentially to the y cent. 
B.C. The orchestra remains in the form 
given it by the Eomans. Its length along 
the existing stage wall is 78 ft. 6 in. ; its 
width, measured from the steps of the 
stage along the axis of the theatre, is 58 
ft. 6 in. It is paved with slabs alter- 
nately of Pentelic and Hymettian marble, 
the middle being occupied by a large 
diamond-shaped figure of white, blue, and 
reddish slabs. In the central slab is a 
circular depression, probably intended to 
receive the thymele. or altar of Dionj'sos. 
Along the outer edge of the broad loAvest 
step of the cavea is carried a barrier of wp- 
right marble slabs, clamped firmly togeth- 
er, 3 ft. 7 in. high. Its upper edge bears 
marks of the presence of a metallic grating, 
doubtless placed there to protect the spec- 



about 3 ft. high, in high relief, represent- 
ing scenes from the early life and the 
Attic cult of Diouysos. The sculptures 
are good work of the early Empire, and 
thus antedate the wall. In a deep niche 
in the middle is a crouching Silenus, of 
still earlier workmanship, the cornice of 
the wall resting on his back. Among the 
ruins behind the stage-wall of Phaedrus, 
some vestiges of a portico connected with 
an earlier Eoman stage-wall ascribed to 
the time of Nero can be traced, consist- 
ing of a row of small columns supj^orting 
arches ; and extensive foundations of two 
periods remain, with evidence that the 
earlier does not antedate Lycurgus, 340 
B.C. The earliest stage was a rectangu- 
lar hall about G9 ft. long, enclosed on 
either side by projecting buildings, with a 
long stoa at the back. The second ad- 
vanced into the orchestra, and had a pro- 
scenium - wall ornamented with pillars 
10 ft. to U ft. high. {See Fig. 27.) 




^' 



j ^ 1 




F — A a Theatre of D ony^Oa Stage wal 



tators, when the theatre came to be used, 
under Roman influence, for gladiatorial 
shows. The Eomans advanced the stage in- 
to the orchestra, cutting oif entirely the side 
passages {irdpoSoi.) for both orchestra and 
audience which existed in the earlier plan. 
The stage, of which the western half sur- 
vives, was built by Pha^drus. an Athenian 
magistrate, probably in the iii cent. a.d. 
A flight of five steps iu the middle gives 
communication with the orchestra. The 
front is ornamented with groups of figures 



Theatre of Herodes. See Odeum. 

The Theseuji or Temple of Theseus 
so-called, now identified with practical cer- 
tainty as the ancient temple of Hephaistos 
(Vulcan), is the best preserved building 
of ancient Greece. It must have beeu 
begun very close to 460 B.C. The temple 
is Doric, hexastyle. peripteral, with two 
columns between antaj in the pronaoj and 
opisthodomos, and thirteen columns in 
each flank, resting on a stylobate of three 
steps, two of marble, supported on a sub- 



44 



ATRI 



structioii of Poros stone. The material 
throughout above the substruction is Pen- 
telic marble, which from age has assumed 
a golden - brown tint. 
The length on the up- 
per step is 104 ft. G 
in. ; the breadth, 45 ft. 
5 in. ; the height of the 
columns, including 
the capital (15 in.), 19 
ft. 3| in. ; the diameter 
of the columns at the 
base, 3 ft. 3f in., at 
the ]ieck. 2 ft. 7^ in. 
The entasis is very 
slight ; the col umns 
have twenty channels, 
which diminish in 
depth toward the top. 
The space between the 
columns approximates 5 ft. 2^ in., except 
at the angles, where it is about 4 ft. 2 in. 
The columns of the peristyle have a slight 
inclination inward. The ccUa is 30 ft. 8 
in. by 20 ft. 5 in. The pronaos is recessed 
12 ft. '.)| in. within llie ])cristyle, the 
opisthodonu)s 10 ft. (I in. The depth of 
the pronaos, wliicli is greater than that 
of the opisthodomos, is l(i ft. 5 in. The 
columns of the pronaos were removed at 
an early date, when the temple was dedi- 
cated as a church of >St. George ; its 
architrave is now su23ported by a wall. 
The marble colfered ceiling of the por- 
tico is the most complete surviving. The 
pediments were lillcd with sculpture, whicli 
is now entirely gone, though marks of 
its placing remain. The metopes were 
sculptured only on the east front, together 
with the four on each flank next to that 
front. The subjects are the feats of Her- 
cules and of Theseus. The cella frieze 
was sculptured over botli i)ronaos and 
opisthodomos and at the eastern extrem- 
ities of the flanks. Though much dam- 
aged, these sculptures show excellent 
design and workmanship. The subjects 
are : at the east end, a battle, perhaps 



of the Athenians against the Eleusinians 
and Thracians, in presence of several of 
the greater gods, represented above the 




Fie;. 28. — Athens, Theseum. 

iiutie ; at the west end, the combat of the 
Athenians and the Lapiths against the 
Centaurs. Tlie existing arched roof of 
the cella is modern, as well as the small 
entrance door on the soutli side. (See Fig. 
26'.) 

Tower of the Wixds. See Horolog- 
iitiii of ^l)idronirus. 
ATlli, Italy. 

The C.VTHEORAL, one of the character- 
istic Gothic buildings of the Abruzzi, is 
a three-aisled church with a single eastern 
apse, built at the end of the xiir century. 
The rectangular front, disguising the out- 
line of the nave and aisles, and divided 
l)y flat pilasters, is pierced by a single 
middle door, inscribed with the date 1305, 
round-arched, but richly decorated with 
Gothic sculpture, angle-shafts, dog-tooth 
and cable-mouldings. The high gable 
over it, reaching to the cornice, contains 
a wlieel-window of similar style. A hori- 
zontal trefoiled eaves-cornice finishes the 
fa9ade. On the south side is another 
tloor somewhat similar in design, but 
of finer proportion. The interior, with 
pointed arcades and vaulted apse, had a 
flat wooden ceiling, but was vaulted in 



AUGUSTA 



1830. It Avas decorated with very inter- 
esting frescoes, wliieh have been obliter- 
ated by whitewash except in the walls and 
vault of the apse, where they have been 
elaborately restored. The handsome bell- 
tower is tall and square, with a tAvo-storied 
octagonal lantern which is pierced by a 
range of broad pointed twin windows and 
round windows above, and crowned by a 
low spire with a group of pinnacles. The 
arcaded cornice of the front is repeated at 
each story of the tower, and even round 
the pinnacles. 

AUGUSTA PE/ETOEIA. See Aosta. 
AA^ERSA, Italy. 

The Cathedral, dedicated to S. Paolo, 
is a great cruciform church of the xi 
cent., about 90 ft. wide and .300 ft. long, 
the length of transept about 150 ft. The 
nave, 45 ft. wide and 70 ft. high and 
vaulted, is separated from the aisles by 
arcades of five bays. Over the crossing 
is an octagonal dome, of which the drum 
is decorated by two ranges of arcades on 
columns, and a corbelled 
cornice. The high apsi- 
dal choir is encircled by 
a semicircular aisle in 
nine groined bays with 
three apses opening from 
it. The vault-ribs spring 
from columns. The 
tower attached to the 
flank of the church be- 
longs to the XV cent., 
and consists of four stor- 
ies with a small cupola. 
AXIA. See Ccif^tel 

d'Asso. 
BAALBEK (anc. Heli- 
opolis), Syria. 
Circular Temple, 
east of the Acropolis, in 
the modern village. The 
cella is surrounded by eight wide-spaced, 
graceful, unfluted monolithic Corinthian 
columns, whose rich entablature is re- 
cessed in semicircular arcs. In front is a 



tetrastyle portico, with a flight of steps be- 
fore the door. Beneath the entablature 
the cella is surrounded by a frieze of gar- 
lands. Between the columns are well- 
proportioned arched niches with shell- 
shaped heads. In the interior are five 
niches, one with a triangular pediment, 
on Ionic pilasters. This temple was for- 
merly used as a Greek church. 

Great Temple, of Jupiter or of all the 
gods of Heliopolis. It rose behind and in 
the axis of the propylsea and two fore- 
courts. Six enormous Corinthian col- 
umns of the south peristyle alone remain 
standing, with their entablature. The 
columns are unfluted, about 60 ft. high 
and 7| ft. in diameter, the shafts formed 
of only three drums, the capitals and the 
details of frieze and entablature of heavy 
and unrefined design. The basement, in 
massive masonry, rises about 50 ft. above 
the surrounding plain. The temple had 
nineteen columns in each flank and ten 
in each front ; nine were still standing in 




1. Great Temple. 2. Basilica. 3. Temple of the Sun. 

Fig. 29. — Baalbek, Roman Ruins. 

1751. The plan measured IGO ft. by 290 
ft. {See Fig. 29.) 

Propyl.^ A of the Great Temple. 
The platform of the exterior portico is a 



4G 



BAALBEK 



rectangle about 260 ft. wide and 36 ft. 
deep, the floor of which is 19 ft. higher than 
the ground in front. It was no doubt ap- 
proached by a flight of steps, now gone. 
It consisted of twelve columns in two rows, 
the bases of which are still in place. On 
two of the bases are inscriptions commem- 
orating the dedication of the temple by 
Antoninus Pius and Julia Domna. The 
portico is flanked by tower-like buildings 
with square cliambers adorned with pilas- 
ters. In the wall behind the colonnade are 
three portals, the largest 23 ft. wide and 
the small ones 10 ft., which open into a 
hexagonal court about 249 ft. by 195 ft. ; 
it was ornamented with niches and square 
exedrfe, now for the most part destroyed. 
A triple portal aifoi'ded communication 
between the hexagonal court and the 
chief court ])efore the temple, whicli was 
440 ft. from east to west, and 370 ft. from 
nortli to south. This court has recessed 
covered exedra? on the north, east, and 
south sides. Exedraj and walls are or- 
namented with unfluted Corinthian pi- 
lasters Avith their entablature, between 
which are two tiers of niches, the upper 
with triangular pediments, and the lower 
arched. In the middle of the court is a 
large rectangular raised iilatform of ma- 
sonry, perhaps the stereobate of a basilica. 
The masonry of the court is in large 
blocks, and the decoration, though of 
florid and debased style, is rich in effect. 

Te.mi'LE of the Srx, the smaller of 
the two chief temples, south of the Great 
Temple, on a jjlatform of its own, which 
is lower than that of the Great Temple. 
As usual with Koman temples, it stands 
on a basement witli a fliglit of steps be- 
tween i)iers in front. It is Corinthian, 
with unfluted columns, octastyle, with fif- 
teen columns on each flank, its peristyle 
117 ft. by 227 ft. Several columns of the 
peristyle are standing. 10 ft. from the 
Avails of the cella on the sides, and 46i ft. 
high. The ceiling Avas coffered Avitli hex- 
agons, rhomboids, and triangles, elabo- 



rately sculptured with busts of gods and 
Avith foliage ornament. The pronaos, 25 
ft. deep, had six fluted Corinthian columns 
in front and one on each side before the 
pilastered antae. The portal is well 
knoAvn, Avith the huge central block of its 
lavishly sculptured lintel slii^ped down 
for half its height, and noAV supported by 
a modern pier of masonry. On each side 
of the door, spiral stall's ascend in the 
thickness of the Avail. The cella, origin- 
ally A'aulted, is about 87 ft. by 74 ft. ; its 
Avails remain especially perfect on the 
north side, Avhich has eight engaged, flut- 
ed Corinthian semi -columns suj^porting 
square projecting blocks of entablature. 
The architrave is Corinthian, the frieze 
has Doric trigly})hs, and the cornice is of 
the most florid and elaborate character. 
Between the columns are two tiers of 
niches, those of the upper tier Avith low 
triangular pediments, those of the lower 
arched. There is a raised platform or 
sanctuary at the Avest end, Avith steps and 
two massive pillars, and a A'aulted crypt 
beneath the cella. The portico is grace- 
ful and Avell proportioned, though the 
ornament of the building is much too 
lavish. The material is a Avhitish or yel- 
loAvish granite except the decorative parts, 
Avhich are in Avhite marble. As in the 
normal T\oman temple-plan, there is no 
opisthodomos. 

The Walls of the city are about four 
miles in circuit, but are evidently for the 
most part a hasty restoration roughly 
built up of architectural fragments and 
other incongruous materials. They now 
stand from 10 ft. to 12 ft. high, and have 
square towers at intervals. The gate on 
the north side is the only one that is fine 
or seems to presei've its original form. 
The enclosing wall of the Acropolis on 
the north, in front of the platform of the 
Great Temple, is 10 ft. thick and contains 
in its height of 19 ft. nine courses of 
blocks, each block about 30 ft. long. In 
the Avestern stretch of this same Avail, at a 



47 



BAALSAMm 



height of 19 ft., are the three famous 
great blocks, 13 ft. high, and respectively 
64 ft., 631 ft., aud 02 ft. long. It may 
be from these three blocks that the tem- 
ple had its ejDithet trilitlwn (three-stoned). 
The substructions of the wall are squared 
but not smooth-faced ; the higher jjarts 
are in drafted masonry. 
BAALSA:\IIX, Hauran, Syria. 

Temple, built in 23 B.C. It faces the 
eas't, is 61 ft. deep and 64 ft. wide, with a 
recessed entrance portico 31 ft. wide, be- 
tween antfe. The outer division of the 
interior, into which the portico opens, is 
17 ft. deep. The temple stands in a 
rectangular enclosure 167 ft. deep and 
about half as wide, entered vinsymmetri- 
cally on the east side by a great door be- 
tween towers or jaylons. The door opens 
on a paved square court before the temple, 
Avhich court is surrounded by porticoes on 
all sides except that toward the temple. 
This temple is to be compared in its dis- 
position with the temple of Solomon at 
Jerusalem. 
BACOLI (anc. Bauli), Campania, Italy. 

PisciXA MiRABiLis, a great Eoman 
covered reservoir on the hill south of the 
town. It measures 230 ft. by 85 ft., and 
has a vaulted roof supported by forty-eight 
robust cruciform jners, in four ranks. It 
is entered by tAvo flights of forty steps, at 
the two ends. The reservoir forms the ter- 
mination of the Julian Aqueduct. There 
are abundant remains by the shore of the 
ancient Koman villas of this favorite im- 
perial resort. The Cento Camerelle or 
Carceri di Nerone, a group of subterra- 
nean vaulted chambers on the height, in 
reticulated masonry, are held to belong to 
the lowest story of the villa of Julius 
Cassar and Augustus. 
BAIA (anc. Baiae), Campania, Italy. 

The Temple of Diaxa, so-called, is a 
large octagonal structure, circular within, 
with a pointed dome 96 ft. in span, in 
part fallen. There are four large niches in 
the walls. Portions of the water-conduit 



identify it as a bath. The upright jjor- 
tion of the wall is in opus incertum encased 
in alternate courses of brick aud tufa ; 
the dome is in small stones laid in hori- 
zontal courses, bound together and sus- 
tained by their excellent mortar. Its 
thickness is about 4 ft. 

Temple of Mercury, so called. The 
main portion is a circular building 144 ft. 
in diameter, witli a domed roof which, 
like that of the Pantheon, has an open- 
ing at the apex and four arched niches in 
the walls. It is undoubtedly tlie frigi- 
darium of a bath. With the rotunda 
communicate tAvo other structures, both 
rectangular and with barrel-vaults. The 
vault of the chief of these, no doubt the 
apodyterium, or disrobing apartment, is 
ornamented Avith pleasing reliefs. 

The Teaiple of Venus, so-called, is 
octagonal Avithout and circular Avithin, 
94 ft. in interior diameter, and has a 
vaulted ceiling. It has eight Avindows in 
the upper part, four doors beloAV, and re- 
mains of lateral chambers Avith flights of 
stairs. It is evidently a p)ortion of an 
ancient bath. The masonry is ojnis in- 
certum Avitli casing of brick and ojjus re- 
ticnlatum. The Avail is strengthened Avith 
buttresses one-tenth as deep as the span 
of the vault. 

Many fragmentary foundations remain 
of the splendid Koman villas and baths. 
The most conspicuous antiquities are three 
considerable colonnades Avhich belonged 
to the different baths. 
BAKITSA, Syria. 

The Church is a basilica of the Syrian 
type (see Hauran) 90 ft. long by 60 ft. 
Avide. A narthex Avitli a triple arched 
entrance crosses the Avest front. It has a 
nave aud aisles of six bays, round-arched 
arcades on Corinthianesque columns, and 
an eastern apse recessed betA. een the half- 
gabled ends of the aisles, Avhich are occu- 
pied, as is usual in this region, by two 
square chambers. The roof Avas of Avood ; 
a close range of arched AvindoAvs formed 



48 



BALBOUEA 



the clerestory, and the apse was decorated 

with a row of colonnettes ou corbels close 

under the cornice. Four gabled porches, 

each with a pair of columns^ covered four 

doors in the two aisles, as at Ruweiha 

(q.r.). 

BALBOURA (Kutara), Asia Minor. 

Theatre, on the south side of the 
Acropolis hill. The exterior diameter is 
about 120 ft.; there are sixteen tiers of 
seats curiously interrupted in the centre 
by a great mass of the solid rock of tlie 
hill, the middle of which is hollowed out 
as if for a chair or throne. There is no 
trace of a raised stage, but thci-e is a 
platform on the same level with the or- 
chestra, supported at the back l)y a high 
wall of polygonal masonry, strengthened 
by buttresses. There is a second ancient 
theatre on the site, together witli the 
remains of several temples, and other 
ruins. 
BAUr, Italy. 

The C.\TiiEDRAL, dedicated to St. Sa- 
binus, is an interesting Komanesque basi- 
lica of T-shaped iilaii originally dating 
from the ix'cent., but much changed by 
repeated restorations and partial rebuild- 
ings. Its breadth is about DO ft. and its 
length about 180 ft. The nave, some 
37 ft. wide, is separated from the aisles 
by eight colunnis du carh side, of iiiai'- 
ble and granite, now concealed beneath a 
covering of stucco, and supporting round 
arcings. IMie nave is covered with a 
nu)dern wooden ceiling, the aisles are 
vaulted each in nine groined oblong bays, 
with a well-developed upper gallery or 
gyntvceum. The projecting transept is 
divided by two great arches continuing 
the line of the nave arches, into three 
scpnire bays, the central one covered by 
a low octagonal lantern and backed by 
a semicircular apse. A staircase at the 
end of each aisle leads to a fine crypt, 
or lower church, uiulei' the transept, 
divided hy coluinns into nine aisles, each 
of four s(pnire groined bays. M'ith an 



apse corresponding to that above. The 
front, divided by flat pilasters, follows 
the outline of the nave and aisles ; the 
central division has the remains of a great 
rose window, and a plain gable with a 
small rose above. The side elevations are 
perhaps the most interesting portion of 
the church. The aisle walls are high, 
with a blind arcade of nine round arches 
on thin pilasters, with a plain doorway 
under the middle arch, that on the south 
side being covered by an open projecting 
porch of three groined bays. Above the 
blind arcade runs an eaves - gallery of 
small round arches in groups of six, di- 
vided by slender shafts. The clerestory 
has single round-headed decorated win- 
dows, and a thin decorated cornice. The 
transept ends have high gables — the blind 
arcade of the aisles is carried through in 
smaller coupled arches under bearing 
arches, and with two stories of two-light 
arcaded windows above and a small deco- 
rated rose in the gable. The windows of 
the second story have projecting sills 
flanked by corbels bearing lions. The east 
end is perfectly flat, the apse being only 
an interior feature, and the arcades and 
windows of the transept are continued 
here across the church. In the centre is 
a single broad round -arched window, 
lighting the apse, with jamb columns 
resting on elephants. At each end of the 
nnliroken wall rose originally a lofty angle 
tower about 21 ft. square, of which that at 
the south was destroyed in 1013 and has 
not been rebuilt. The other is complete ; 
its height of about 212 ft. is divided into 
six stories of arched windows variously 
grouped in two, three, or four openings, 
with a decorated cornice and battlement ; 
and above, a smaller square lantern in 
two stories with pyramidal roof. The 
lantern at the crossing shows externally 
as a high octagonal wall divided by slen- 
der shafts, with an arched corbel-table, 
and a broad, richly decorated frieze of 
Bvzantine character, above which shows 



41) 



BAKI 



only a segment of tlie dome. Tlie original 
cliurcli, as old as the ix cent., was sub- 
stantially rebuilt about 103-i. Partially 
destroyed by the Saracens it was again re- 
built and consecrated in llTl, and again 
in 1292. A final restoration in the first 
half of the xviii cent, left little of the 
interior untouched. Portions of the tran- 
sept and of the east end are believed to 
belong to the original construction. 

S. Gkegoeio is an old Romanesque 
church of the xi cent., probably nearly con- 
temporary Avith the two greater churches 
of that town, but perhaps somewhat older. 
Its plan is a rectangle about 45 ft. by 05 
ft., with three eastern apses; the nave is 
covered by a wooden roof and separated 
from the aisles, which are groined in 
square bays, by six narrow stilted round 
arches on each side, springing from sim- 
ple round columns, but divided by square 
piers into two groups of three arches each. 
Over these is a plain clerestory wall with 
three small round-arched windows on each 
side. The front, following the outline of 
the interior section, and divided by fiat 
pilaster-strips, has one liigh and simple 
round-arched doorway, under three single 
round-arched windows, and in the gable a 
blind arch enclosing a square window over 
an arcade and set about M'itli grotesque 
heads in the form of corbels. Each side 
compartment has only one small round- 
arched window, higli up and filled with 
pierced marble slal)s in a geometrical 
pattern. 

S. NiccoLO, a Romanesque church of 
striking design, believed to have been in 
existence as early as the beginning of the 
IX cent., but in its present form dating 
from the end of the xi cent., when in 
1087-89 the crypt was prepared to receive 
the body of the saint, Nicholas of Myra in 
Lycia. The upper church was finished 
about 1 100. It is about 200 ft. long and 
110 ft. broad, and in size and general plan 
is much like the cathedral, having a nave 
about 38 ft. wide, separated from two- 



storied aisles about 20 ft. wide by six 
round arches on each side springing from 
antique granite shafts Avith composite 
capitals. The aisles are in six square 
groined bays. Avith three rectangular chap- 
els on each side, and two recessed porches. 
The upper aisles have fine high arcades 
divided into groups of three round arches 
on columns, under round bearing-arches, 
above Avhich is an arched corbel-table and 
string-course, and a clerestory Avith small 
single -arched AvindoAvs under a fiat roof 
of Avhich the decoration is modern. The 
dispositioji of the nave is peculiar, its 
length being halved by a great round 
transverse arch, and the Avestern half be- 
ing bridged by tAvo similar arches AAdiich 
spring from columns set just inside the 
nave columns, but rise only to the aisle 
galleries. The nave is separated from the 
transept by a screen of three round arches 
on Corinthian columns, similar to those 
of the nave, and the transejot arms are 
screened off by the choir stalls. The 
crossing forms the choir, ]ioav modernized, 
ending in a round A^aulted apse. Its floor 
is raised by three steps above the nave, 
and the altar is coA'ered by a square 
ciborium, in Avhicli four angle -columns 
Avitli figure -capitals carry an octagonal 
canopy of two diminishing stories of 
stunted shafts. The end walls of the " 
transept are fiat, their upper jiarts 
inerced Avith two stories of two -light 
arched Avindows. From the end of each 
aisle a stair descends to a noble crypt ex- 
tending under the Avhole transept, divided 
by columns into square groined bays, 
Avith four AvindoAA's at each end, and a 
round apse in the middle under the choir 
apse. The capitals of the columns are 
extremely varied and interesting, Avith 
remarkable Byzantine sculpture. Of the 
exterior the fagade is the most interesting 
portion. It is divided by broad pilasters 
into three compartments, corresponding 
in outline to the nave and aisles, with a 
central gable and half-gables, all bor- 



50 



BARLETTA 



dered by arcaded eaves -cornices. The 
central arched doorway has a gabled 
porch borne by octagonal columns resting 
on tlie backs of beasts which tliemselves 
rest on corbels. Its sculpture is remark- 
able, showing bands of Byzantine flat 
ornament, figures of angels, and in tlie 
tympanum the figure of a saint. A blind 
arcade of coupled arches crosses the front. 



to have been founded before 900, but re- 
built in the xir cent., and enlarged at the 
beginning of the xiv. A sharp dividing 
line is drawn. jDarticularly in the interior, 
between the arcliitecture of the earlier 
church and that of the addition. The 
length of the two portions is nearly equal ; 
the western half is Lombard in charac- 
ter, with four round arclies on each side 




Fig. 30 B 

Above, in each c()iii|)ariiii('n(, is a stand- 
ing figure of a saint in a niclu'. and still 
higlier, two-light windows with mullion 
shafts. The front is fianknl hy s([uan' 
towers, both unfinished: the n(U'tlu'rly 
one in two stories, with plain, round- 
arclied doorway below ami paiu-ls above, 
arched corbel-tabk' and horizontal cornice. 
This cliurcli is the centre of the cult of 
St. Niciiolas. His l)oily was pilfered 
from Myra in lUSi by Barian mercliants, 
and Urban 11. came to deposit it in the 
crypt in l()8it. Tlie council of 1008 was 
held in tlie church. (,sVr Fiq. JO.) 
BARLET^rA, Italy. 

8ta. Makia .Ma(;(4I011k, or del' Assun- 
zione, the chief church of the town, is an 
aiu'ient Romanesi[ue building jjresunied 



springing from antique columns of marble 
with attic bases and mediseval Corinthian 
capitals with stilt-blocks. Above these is 
an upper gallery with coupled round 
arches, over which is a clerestory wall with 
single small windows under a wooden 
roof. T'lie eastern half is distinctly Goth- 
ic, with groined nave and aisles separated 
bv four high pointed arches on each 
side, of unequal breadth, springing from 
grouped piers, with vaulting shafts. 
There is no triforiuin. and a single small 
pointed window jiierces the clerestory wall 
in each bay. The choir ends in an apse 
with five pointed arches opening into as 
many radiating vaulted chapels, and Avith 
a single pointed window over each arch. 
'I'll is apse is a very unusual instance in 



BAFLI 



southern Italy of the use of the northern 
Gothic forms and construction. The 
fa§ade, narrow and high, following the 



built of good masonry in basalt. The 
interior jj^issages and the outlets are well 
preserved. It is said to have recesses for 




''^^T, 




Fig. 31.— Barletta, S M. Maggiore. 



outline of the interior, is divided into 
three compartments, each with an en- 
trance doorway. Those of the side com- 
partments are old. with grotesque sculpt- 
ure, and over each is a two-light shafted 
window surrounded by a triple border 
of decoration. Over the modern central 
doorway is a large early enriched window 
with jamb-columns and a rose in the gable 
above. An arcaded corbel -table follows 
the rake of the cornice of the whole front. 
The fine tower is of the xii century. {See 
Fig. 31.) 

BASSAE. See Plngaleia. 
BEHRAM. See Assos. 
BEISAN (anc. Beth-Shean). Palestine. 

RoMAX Theatre, on the south side of 
the hill. It is about 180 ft. in diameter, 
and twelve tiers of seats are visible. The 
cavea is supported on vaulted galleries 



the ccliea or acoustic vessels described by 
Yitruvius. 

The Roman remains are considerable, 
and include, besides the theatre, j)ortions 
of the massive walls, with a fine arch 
flanked by Corinthian columns which 
probably belonged to one of the gates, 
and ruins of several temjiles with walls 
and stereobates of basalt and marble col- 
umns, about two dozen of which are still 
standing. To the X.E. of the hill is a 
necropolis with rock-tombs, some of them 
closed by hinged stone doors and contain- 
ing sarcophagi. Tliere is also a fine Ro- 
man bridge. 
BELLA PAIS. Cyprus. 

The Bexedictixe Moxasteey, though 
ruined, is an interesting and solitary ex- 
ample of a monastery in this part of the 
world. "■ There remain the small Gothic 



52 



BENEVENTO 



cliurcli Avith three sides of the cloister, 
here set on the north, probably owing to the 
character of the ground, and surrounded 
by the conventual buildings. The Gothic 
architecture is of the xiv cent, or later. 
The church consists of a nave and aisles of 
three bays, a sliort transept, and a square 
chancel. Before the west door is an open 
arcaded porch. The transept arms are 
covered with a barrel -vault, the other 
vaults being groined. The cloister was 
surrounded by broad arches v/ith compli- 
cated tracery. Against its eastern side were 
a chapter-house and dormitory, and on the 
north is a fine vaulted hall, probably the 
refectorv. 
BEXEVENTO. Italy. 

Tlie Cathedral of Sta. Maria is one 
of the most ancient of Lombard churches 
of South Italy, though repeated restora- 
tions and rebuildings have left little of 
the early architecture. Tlie remains of a 
colonnaded atrium are to be seen before 
the front, which is tiic most interesting 
portion. It is in two stories of blind 
arcades, seven round arches in each story, 
those of the first story high, on broad flat 
pilasters ; two of the arches having a loz- 
enge in the head, after the Pisan manner. 
There is a central doorway with pilasters 
carrying a l)r()ad lintel and tympanum 
under a round bcaring-arcb, the whole cov- 
ered with decoration of Byzantine char- 
acter. The second story has a Ixiider ar- 
cade carried on low columns with curious 
capitals. T'hc fine bronze doors Avith re- 
liefs in the panels date from 1150, l)iit wci'o 
restored in 1093. Above is a horizontal 
Reuaissaiicc cornice, over which appears 
the flat h[\vv face of tlu> nave, with a low 
gable. At the nortii angle of the front 
staiuls a large square detached bell-tower, 
plain l)elow, with a band of small antique 
sculptured figures across the face, a strong 
corbel-table, surmounted by a square bel- 
fry with a single two-light arched opening 
in each face. 'I'he interior is five-aisled, 
a T-sha[)ed basilica in plan, with close-set 



rows of fluted columns, fifty-four in num- 
ber, with Roman Doric capitals, carrying 
round arches and an entablature. The 
clerestory wall is very corrupt in style and 
is pierced with round windows. The nave 
is covered by a flat panelled ceiling, and 
ends in a triumphal ai'ch. The transept 
does not project beyond the aisle walls, 
and has a round central apse with semi- 
dome. The interior was, with the excep- 
tion of the arcades, completely modernized 
in the xvii century. Two fine pulpits 
about 10 ft. square, sujiported by columns 
of black marble and granite with decorated 
shafts standing on monsters and with cap- 
itals in which the leafage is varied by flg- 
lires and heads, date from the xiv cen- 
tury. The original cathedral, founded as 
early as the beginning of the vii cent, 
and destroyed by an earthquake, was re- 
built and finished in 1047. Parts of this 
building still remain, notably the arcades 
of the interior and the lower portion of 
the front — the remainder of the exterior 
belongs to the period between 1114 and 

Sta. Sofia is an early Ilomanesque 
church, with a peculiar plan, consisting 
of a circle about 75 ft. in diameter, of 
which on the exterior the western third 
is cut off by a long rectangular narthex 
with a frontage of about 105 ft. Within is 
a central hexagon formed by six antique 
Corinthian columns supporting round 
arches, from which rises a dome. The 
space outside the central hexagon is di- 
vided by a ring of ten columns into two 
circular aisles, of which the bays are cov- 
ered by vaults of various forms, trian- 
gular, trapezoidal, and domical. At the 
east opens a square tribune. The exte- 
rior has much of the Lombard character. 
The M'est front has a blind arcade, with 
lozenges in the arch-heads, and a central 
door, flanked by Corinthian columns 
carrying an architrave, over which is a 
round bearing -arch with tympanum 
charged with sculpture on a ground of 



5a 



BEBGAMO 



gold mosaic. The building has suffered 
miTch from reiseated earthquakes and con- 
sequent restorations. The church be- 




Fig. 32. — Benevento, Trajan's Arch. 

longed to a convent, first of nuns, then of 
Benedictine monks. The adjacent cloister 
has an arcade of some sixty columns with 
varied and partly grotesque caj^itals, most- 
ly with stilt-blocks. 

The Eoman TRirMPHAL Arch, which 
once spanned the Via Appia, now serves as 
one of the gates of the city, and is com- 
monly called the Porta Aurea. It was built, 
A.D. 114, in honor of Trajan, by the Eo- 
man Senate and people, according to the 
inscription on the attic on both faces. It 
is one of the finest and best preserved of all 
ancient triumphal arches. The front is 
48 ft. high by 30 ft. 4 in. broad, pierced 
by a single arcli 16 ft. 4 in. by 26 ft. 9 in. 
high, with two Corinthian fluted columns 
on each side supporting an elaborate en- 
tablature ; above is an attic in three com- 
partments, the middle one inscribed. 



Each front is decorated with a frieze and 
sevei'al superimposed bands of sculptures, 
representing the Dacian wars, the Em- 
peror' s triumj)hs, etc. These 
sculptures are not excelled by 
any other extant specimens of 
Eoman art. In the spandrels of 
the arch are Victories. The ma- 
terial is white marble. {See 
FUj. 32.) 
BEEGAMO. Italy. 

The Broletto, a small but 
beautiful example of the medie- 
val town -halls of North Italy. 
It is a Gothic building of stone 
supported wholly on detached 
piers and columns with pointed 
arches, the first story being oi^en 
to the street on all sides, with 
groined vaulting. The front on 
the square presents three arches 
sjDringing from broad square 
piers with foliated capitals. The 
second story wall is pierced by 
three lai'ge three-light windows, 
the two at the sides with trac- 
ery and mullion - shafts under 
pointed arches. The central 
window, apparently rebuilt, is flanked by 
Eenaissance columns, with a rude order of 
columns and entablature above. It has a 
large balcony which marks it as the rin- 
ghiera, from "\^-hich the magistrates were 
accustomed to address the people. The 
building dates probably from the xiii cent., 
and groups picturesquely Avith the church 
of Sta. Maria Maggiore, the clock-tower 
and an open staircase forming the approach 
to the upper stories of adjoining buildings. 
Capella Colleoxi, the burial chapel 
of tlie great Condottiere, dates from 14T6, 
and stands on the north side of the church 
of Sta. Maria Maggiore, to which it is 
attached. It has an extravagantly deco- 
rated fagade, incrusted with a mosaic of 
marble in geometrical patterns and with 
an open arcaded gallery at the summit of 
the wall ; the whole surmounted bv aw 



54 



BETHLEHEM 



octagonal dome raised on a three-story 
tambour. The interior is decorated with 
frescoes, chiefly by Tiepolo, and contains 
several notable monuments, among which 
that of Bartolommeo C'ulleoni himself, 
profusely ornamented with bas-reliefs and 
surmounted by his statue, and that of his 
daughter Medea are the most remarkable. 

CD 

Sta. Maria Magcuore is an early Ko- 
manesque church, cruciform in plan, and 
of simple exterior, with high walls and flat 
gables, windows small and plain, flat but- 
tresses, corbel -tables under the cornices 
and following the rake of the gables, a tall 
square campanile at the angle of the 
north transept with the choir, and an oc- 
tagonal lantern at tlie crossing. The 
churcli has undergone extensive altera- 
tions and is now chiefly interesting on ac- 
count of its two porclies at the transept 
doorways, very elaborate compositions, of 
whicli that on the nortli is the more 
remarkable. It consists of a broad and 
lofty round liarrel-vaulted pi'ojection sup- 
ported by two slender wliite marl)le col- 
umns resting on lions. Above this is a 
sort of loggia, with three pointed and 
cusped arches. The loggia is groin-vault- 
ed, and minutely decorated with panels 
and inlay of black, red, and white mai-- 
blcs ; under it are three statues, of wliich 
the central one represents the Duke Lu- 
pus on horseback. Al)ove is an inferior 
third story, a square open niche, with a 
higli jiyramidal roof. Tlie interior of the 
church has been almost entirely modern- 
ized. Its five apses, on choir, transept, 
and aisles, still remain substantially in 
their original form. The chureh l)elongs 
originally to tlie first half of tlie xir cent. ; 
the porches are two centuries later — an in- 
scription on one of the stones giving the 
date of l34i)-50, and the name of the 
architect. Johannes di Campilio. 
BET 1 1 LE HEM, Palestine. 

CiruucH OF TiiK Nativity, or of St. 
Mary. Tlie tradition is that this basilica 
was liuilt l)y tlie Empress Helena, mother 



of Constantine, over the place where Christ 
was born. It lies on the northern slope 
of the hill on which Bethlehem is built, 
almost buried between the Latin convent 
on the north and the Greek and Armenian 
on the south. In front of it is an open 
paved square, once apparently the atrium 
of the basilica, from which the enclosing 
colonnade has disa2)peared. The facade 
is crossed by a low narthex or vestibule 
below the plain gable of the nave. It is a 
double-aisled basilica, with transept and 
choir extended to the eastward, but diflers 
from the Latin basilicas in having an apse 
not only at the east of the choir, but at 
each end of the transept. The narthex 
has been cut up into rooms, only the mid- 
dle door being now open to the church, and 
that made as small as possible, for defence 
against wandering Arabs. The interior 
length is about 190 ft., but is blocked by 
a hideous wall with a triaugular-headei^ 
opening which the Greeks built about fifty 
years ago, to cut off the choir and transept 
from the nave. The nave and aisles, 
eleven bays long, are divided by four rows 
of Corintliian columns 1!) ft. high. Those 
next the nave carry an architrave whicli 
supports a high clerestory wall, pierced 
higli up with round-arched windows, above 
which is a rough open timbered roof of 
the XVII century. The nave is about 34 
ft. wide and 50 ft. high to the feet of the 
rafters, and well lighted ; the aisles are 
low and dark, being covered by a flat 
ceiling which rests on the architrave over 
the columns, and there is no triforium or 
gallery. The whole of the wall has been 
covered with rich mosaic on a gold 
ground, provided during the occupation 
of Palestine in the xii cent, by the Greek 
Emperor Comnenos Porphyrogenetes. This 
divided the unbroken part of the wall into 
two bands, the lower occupied by half- 
length figures of the ancestors of Christ, 
the upper by records of the early councils 
of the Church in panels, and conventional 
representations of the church - buildings 



55 



BETH-SHEAN 



of tlie cities wliere they were held, sepa- 
rated by elaborate panels of scroll foliage. 
Between the clerestory windows are figures 
of angels. Much of tliis has disappeared, 
but enough remains to show the former 
splendor of the building. The nave is as 
wide as the two aisles on either side, and 
the transept is as wide as the nave. 
The aisles reappear in one bay beyond the 
transept, and the order of columns is car- 
ried about the choir and transept ; but 
here it bears a complete Corinthian en- 
tablature. From each side the choir steps 
lead down to a large and rambling crypt, 
where are shown, directly under the centre 
of the choir, the cave or grotto in which, it 
is said, Christ was born. Near by is the 
manger in whicli he was laid. These parts 
of the crypt are lined with marble and 
lavishly adorned. There is also, converted 
into a chapel, the chamber where St. Je- 
rome passed many years of seclusion and 
composed most of his writings. There is 
no one of the sacred buildings of the 
Holy Land of which the history can be so 
uninterrujjtedly traced, or which has been 




UMl 



Fig. 33.— Bethlehem, Ch of the Nativity. 
Scale of 100 feet. 

apparently so little changed. Eusebius 
says that Helena, visiting the Holy Land, 
decorated the place of the Nativity, and 
that Constantine built there one of the 



three splendid edifices that he raised in 
Palestine. The early writers of the Church 
and many pilgrims have left descriptions 
which indicate its continued existence. lu 
the VIII cent, appears for the first time a 
story that the basilica was rebuilt by Jus- 
tinian. Some modern authorities have 
thought this verified by the triapsidal ar- 
rangement of the choir, but examination 
seems to show that the church is homoge- 
neous, and that the colonnades of the nave, 
and especially the treatment and execution 
of the order that is carried round the choir, 
cannot be so late as Justinian, or indeed 
later thaTi Constantine. {See Fig. 33.) 
BETH-SHEAN. See Beisan. 
BET JIBRIN (probably anc. Eleuther- 
opolis), Palestine. 

The Eoman remains are extensive, a 
great part of the modern houses incorpo- 
rating ancient walls, columns, etc. Parts 
of the ancient walls survive. A fort on 
the N.W. has towers at the angles. The 
cliffs in the neighborhood are full of rock- 
chambers, round, and vaulted, the vaults 
being supported on detached pillars. They 
are 20 ft. to 25 ft. in diameter and 30 ft. to 
40 ft. high, and lighted by a shaft from 
above. These chambers were jorobably in- 
tended for dwellings, for which purpose 
and for stables some of them now serve. 
BIEDA (anc. Blera), Etruria, Italy. 

Akcient Bridges. One, of a single 
arch of 24 ft. 3 in. s\)Wi, in masonry of 
large square blocks without mortar, part 
in alternate courses of headers and 
stretchers, the lowest courses drafted, is 
Etruscan. This bridge is interesting in 
that on one side the rock rises to the 
height of the impost and is hewn to the 
form of a pier, while the pier on the op- 
l^osite side, where the ground is low, is 
wholly of masonry. The other bridge, of 
three arches, has Etruscan piers, but the 
arches are Roman. The original Etrus- 
can bridge doubtless had a superstructure 
of wood. The span of the largest (central) 
arch is about 30 ft. 



5« 



BIELLA 



Necropolis. In the cliffs bordering long to an older construction. The fa9ade, 
the high tongue of land on which the an- which follows the outline of the nave and 
cient town stood, there is an extensive aisles, has a rich pointed middle doorway, 
Etruscan necropolis liewn from tlie rock, consisting of a square-headed opening with 
There are numerous artificial caverns, in sculptured tympanum and decorated ar- 
terraces, with pedimented architectural chivolts, borne by flat pilasters and short 
fa9ades of varied decoration ; many of columns resting on grotesque beasts, with 
them imitate ancient habitations somewliat fantastic capitals and witli stilt - blocks, 
in detail, and some fallen blocks 
are liewn into tlie form of iso- 
lated houses. It is usual in tlie 
interior to find the square ridge- 
beam of the roof and tlie rafters 
carved in relief. Tliere is often 
a window on each side of tlie 
door. 
BIELLA, Italy. 

Tlie Baptistery is a singular 
little building of historic iiitei- 
est. Its plan is a square witli a 
semicircular domed apse on each 
face, out of whicli the upper wall 
rises, still square within hut 
with each si(k' thirkciu'il in the 
middk\ so that it becomes oc- 
tagonal without aiul sujjjiort-. 
witli the lu'l[) (it' corbelling in 
the angles, a hemispherical 
dome, of whicli the orowni is 
about 'M ft. above the pave- 
ment. Tlie drum is finished hv 
a large arched corbel-table and a 
low roof over the dome, M'hich, 
as well as the roof of the apses 
below, is covered by the stone tiles laid 
directly on the masonry of the vaults, no 
wood being used in tlie construction. This 
building is almost identical in structure 
with the little chapel of Ste. t'roix at 
Montmajour near Aries. Count I\Iella, in 
the absence of authentic records, considers 
it to belong to the vrii or ix century. 
BITETTO, Italy., 

Tlie C.VTiiiinHAL, founded early in the 
IX cent, and dedicated to St. Michael, was 
substantially rebuilt, according to an in- 
scription on the facade, about l.*);)."), though 
certain portions of the exterior probably be- 




Fig. 34.— Bitetto, Cathedral. 



Above is a round-arched two -light win- 
dow, and in the gable a fine rose, be- 
tw'een slender colonnettes on corbels car- 
rving a broad decorated archivolt. The 
side compartments have plain door -ways 
with t3anpana, and two - light windows 
al)ove. At the left of the fagade is a tall 
modern tower with successive belfry stages, 
loaning against the dome of a modern 
chapel behind it. The interior has a nave 
and aisles separated by arcades of mingled 
round and pointed arches springing from 
scjuare })iers with a half column on each 
side and an apsidal choir. The nave has a 



57 



BITONTO 



wooden ceiling ; tlie aisles are groined in 
square bays. {See Fig. SJf.) 
BITONTO, Italy. 

The Cathedral, dedicated to St. Val- 
entine, is believed to have been founded in 




Fig. 35.— Bi-tonto, Cathedral, Pulpit. 

the IX cent., but in its present form is 
probably not older than the early part of 
the XII century. Its plan is a rectangle 
about 80 ft. broad and 160 ft. long. Of 
this length about one-third is given to the 
undivided transept, of which the eastern 
wall is recessed in three flat apses, not 
showing on the exterior. The remaining 
length is divided into a nave and aisles 
with two ranges of lateral chapels. The 
nave is bordered liy six arches on each side 
supported by columns, and divided into 



two groups of three by a pair of compound 
piers. The chapel on each side next the 
transept is replaced by an open recessed 
porch. The whole interior is modernized, 
with tunnel- vaults in nave and transept, and 
a great order of Corintbian pilas- 
ters, all in stucco. A crypt ex- 
tends under the transept. The ex- 
terior is of great interest, and is 
perhaps the best existing example 
of the modification of the Lom- 
bard forms in the south of Italy. 
The front shows a gabled nave 
between two lean-to aisles, with 
tln'ee doorways under round arch- 
es and tympana, coupled arched 
windows over them, and a hand- 
some rose in the central gable. 
The central door is a richly deco- 
rated portal, enclosed in two 
bands of foliage, between slender 
shafts resting on lions, with tall 
capitals supporting griffins. The 
rose-window in the gable is flanked 
by two slender columns on corbels 
supporting figures of lions, from 
which springs a sculptured hood- 
moulding. The flanks of the 
church are also interesting. The 
aisle walls have a blind arcade, 
continued round the transept and 
east end, with a single, narrow, 
round - arched window in each 
arch. At the tojD of the wall and 
above the eaves is an open arcaded 
screen with round arches in groups 
of six, on columns. The clerestory, di- 
vided by slender engaged shafts ending in 
an arched corbel-table, had small round- 
arched windows irregularly disposed, Avhich 
are now blocked up. {See Fig. 35.) 
BLERA. See Bieda. 
BOGHAZ-KEUI (Pteria), Asia Minor. 

HiTTiTE Palace, founded on an artifi- 
cial terrace, and in other waj'^s presenting 
close analogies with Assyrian structures of 
similar character. Tlie foundations form 
a parallelogram, 187 ft. by 138 ft., of large. 



58 



BOLCASCOOE 



irregular blocks of stoue, secured together 
by iron cramps. The superstructure was 
ill brick. The disposition of the rooms is 
of the usual oriental type. The chief 
gate is an independent structure or pylon 
59 ft. deep ; two lion -heads project on 
either side of the door above the lintel. 
Near the palace are remains of other build- 
ings as well as of the city walls about two 
miles in circuit, and the rock-reliefs called 
lax'dl Kaia, or the Inscribed Stone. The 
Hittite art is not an original art; it is de- 
rived from the Assyrian, which it follows 
more or less rudely and closely, modified 
by influences akin to the Phoenician, and 
with local elements, such as the usual 
high tiara and upturned shoe, and other 
details of costume. Kemains of this art 
abound in the northern half of Syria and 
in soutlieasteru Asia Minor. 
BOLCASCOOE (Bolkazkeui), Asia Mi- 
nor. 

EoMAN Theatre, reniarkal)k' for its 
admiraljlc preservation. At the top the 
stone sockets for the a\vniiig-2:)oles are still 
in place. The interior is described as 
practically perfect, togctlier with the 
vaulted substructions. TJie cavoa is sur- 
rounded above by an arcaded gallery, 
Avliose arches rest on brick columns coated 
with stucco ; the columns have ornate cap- 
itals. The wall at the back of the stage 
stands entire, and is 2»'ofusely ornament- 
ed with rectangular niches, a balcony, 
and other features, in white marble ; the 
sculpture includes heads, masks, flowers, 
dolphins, animals, and eagles. The faces 
of tlie walls wore coated with Miiite stucco 
bearing designs in red, marked out in 
black ; tlie iaterior of the niches was liglit 
blue, and color remains also on the masks. 
BOLOCrXA, Italy. 

Bapiisteky. See S. Stcfano. 

Casa DEI Caracci. a small palace of 
the XV cent, in brick and terra-cotta, pre- 
sumeil to have been occupied at one time 
by the painters of that name, and remark- 
able for some unusual features of dosis;!!. 



It has a high battering stone basement, 
from the upper part of which j^roject great 
brackets bearing broad arches of brick 
with decorated archivolts, which carry 
the wall of the upper stories. Above the 
arches a string-course of terra-cotta bears 
a range of round-arched two-light windows 
with pilasters and decorated archivolt. 
There is a low third story with round win- 
dows in the frieze of a richly decorated 
cornice. 

CoRTE Di PiLATO. See S. Stcfano. 

FoRO DEI MERCA]srTi. See Mercanzia. 

Madoxxa di Calliera. a small 
Renaissance church of the xvii cent. , with 
a worn stucco faQade of much beauty. It is 
in two stories, separated by an enriched 
entablature which crosses the front, being 
carried by Corinthian coupled pilasters at 
the corners, and broken over detached 
columns by the great central door, whose 
arch, flanked by decorated pilasters, rises 
into the second story and is covered by a 
pediment. In the second story the angles 
are marked by two niclies on each side, 
one above another, bearing statues, and 
the wall between is divided by slender 
tin led 2)ilasters into three bays. The 
fayade ends in a very heavy and richly 
decorated corniccione, beneath which is a 
broad frieze Avith niches and half-length 
statues. 

Madoxxa di S. LrcA. An interesting 
modern church, built in 1731 from the de- 
signs of Dotti. It stands on the summit 
of a hill, the Monte della Guardia, some two 
miles from the town gate, and is ap2)roached 
from the foot of the hill by a continuous 
arcade, rather more than a mile in length, 
of six hundred and thirty-five arches, built 
between KJTO and 1730, and following the 
conformation of the ground, with occa- 
sional chapels. The church has a singular 
plan which may be described as a cross 
inscribed within an ellipse. The centre is 
bounded by four great arches which sup- 
jiort a hemisjaherical dome raised on a 
drum and surmounted by a cuiiola. The 



50 



BOLOGNA 



longer arms of the cross are semicircular, 
the shorter semi-elliptical. From the east- 




Fig. 36. — Bologna, Madonna di S. Luca. 

ern arm opens a square choir ending in an 
apse. At the west end of the church an 
open portico describes a curious reversed 
curve and terminates in two open jDcn- 
tagonal pavilions, from one of which the 
arcaded staircase descends to the town. 
The exterior view shows the high elliptical 
wall rising out of the midst of a square 
mass of surrounding biiildings, with a low 
roof and the dome in the middle. The 
apsidal choir projects from the east end, 
flanked by a low square tower. (See Figs. 
36, 37.) 

La Mercanzia (Hxehange). A small 
building of brick and terra-cotta built 
about 1294 as an exchange and called the 
Foro dei Mercanti. The characteristic 
part is an addition of 1387 and 1439, 
analogoiis to the broletti of North Italy. 
It consists of two stories, the first an open 
loggia, groined, with two high pointed 
arches carrying the upper wall, and two on 
the sides of the loggia, springing from 
grouped piers with large foliage caps, 
decorated arehivolts, the spandrels orna- 
mented with roundels containing sculpture. 



The second story, separated from the first 
by a decorated string-course, has two elab- 
orate pointed and traceried win- 
dows divided by twisted shafts, 
and enclosed in broad frames of 
decorated mouldings. Between 
these two windows is an octagonal 
balcony or ringhiera with tracer- 
ied panels, covered by a polygonal 
canopy with cixsped arches under 
gables and a tall crocketed spire. 
The facade is finished by a rich 
cornice with quatrefoils enclosing 
shields, with an arched corbel- 
table below it and forked battle- 
ments. [See Fig. 38.) 

Palazzo Bevilacqua. A xv 
cent. Kenaissance palace of which 
the architect is not known, with a 
long and rather low fa9ade in sto- 
ries of bold rustic stonework, vari- 
ously treated in different portions. 
The first story has two round-arched door- 
ways, one Avith an order of decorated pilas- 




Scale of 100 feet. 



ters and semicircular pediment, the whole 
enriched with delicate bas-reliefs, and small 



60 



BOLOGNA 



windows with flat caps. The second-story 
has a range of ronnd-arched two-light win- 
dows under enclosing arches, and separated 
by columns. An enriched entablature runs 
across the whole front in each story, and 
the upper cornice projects boldly on brack- 
ets. Tiie fine interior court has two stones 
of vaulted round-arched arcades with Com- 
posite columns and entablatures, the up- 
per arches being twice as many as those 
below. Ill this palace met tlie Italian 



umns, the upper arches one half the width 
of those below. The palace dates presum- 
ably from the xv cent., and is filled with 
frescoes by the Caracci. {See Fig. Ifl.) 

Palazzo Isolani. An early Eenais- 
sance palace, probably of the xy cent, 
with a low fa9ade in two stories, the first a 
round arcade with six arches on Corinthian 
columns, the second of six pointed arched 
windows, with fluted Corinthian pilasters 
and decorated archivolts. the arch-head di- 




Fig. 38. — Bologna, La Mercanzia. 



Uiembers of tbc Council of Trent in l.-)-!!, 
after tht'ir schismatic adjournment to Bo- 
logna, as appears IVoiii an inscri])tinn in 
one of the rooms. {Srr Fiij. ■!!>.) 

Palazzo Kava. A fine example of the 
brick and terra-cotta arcliitccturc of Xortli 
Italy, with a facaiK' of three stories — the 
first a high vaulted arcade of round arclies 
springing from square iiiers with engaged 
columns on each side. The sei'ond story 
has a range of two -light windows wit]i 
broad pilasters and round bfniMng arcli : a 
very heavy and over-ornaineiited cornic- 
cione crowns the fayade. On the sides of 
the interior court are two stories of round- 
iirclicd vaulted arcades on composite col- 



vided into two delicate ogee arches with 
miiiute cus[)iiig, and Mith a roundel be- 
tween, enclosing a head in liigh relief. 
The front is finished by a rich terra-cotta 
cornice M'itli small deej) arches on corbels, 
each enclosing a head. 

Palazzo del Podesta. Tlie old palace 
of the magistrates dates from the early 
])art of the xiii cent., but its present 
far/ade was built as late as 1485. It is in 
two stories, the first an open arcade of 
round arches, springing from square rustic 
piers, faced with an order of engaged Co- 
rinthian columns, the second an order of 
flat Corinthian pilasters, and arched win- 
dows between, with pilasters and mould- 



BOLOGNA 




F ^ ; - - £ , , Pal. Bevilacqua. 

ed archivolts. There is a low attic witli 
round windows. The plain square me- 
diaeval tower rises out of the roof, ending 
in a belfry with three-light and four-light 
windows in the faces, under a bearing 
arch, and cro"\\Tied by square battlements. 
The interior has a great hall, 75 ft. wide 
and 170 ft. long, of which the original 
character has wholly disappeared under 
successive changes. The palace was for 
twenty years the prison of Hensius, king 
of Sardinia and natural son of tlie em- 
peror Frederic II., from whom the great 
hall is still called the " Sala del Ee Enzio." 
S. Fbaxcesco. a brick church, one of 
the largest of Bologna, and originally one 
of the finest, dating probably from the 
early part of the xiv cent., but in 1798 
occupied as a Custom-house, and now 
much decayed and neglected. Its Avest 
front has been greatly changed, but retains 
its original- doorway and the canopy over 
it. The east end has aisles and exterior 
chapels after the northern fashion, and the 
thrust of the choir vault is met by great 
flying-buttresses of rather awkward form. 
Two campanili stand near together on 
Lbe south of the choir, of which the larger, 
dating from the xiii cent., has some good 
Gothic features, among others a belfry- 



stage with three-liglit windoA\-s with twisted 
shafts for mullions and traceried heads. 
The interior has a fine nave and aisles in 
seven bays, separated by pointed arches 
resting on octagonal columns, all in brick. 
The transept has been restored in the st}'le 
of the original. 

S. GiACOMO Maggiore. a Gothic xiii 
cent, church of brick, much modernized 
in recent times. Its facade is substan- 
tially rinchanged and presents a single 
broad gable divided by pilasters into three 
divisions, the central one of which con- 
tains a doorway flanked hj columns of red 
marble resting on lions and supporting a 
canopy. Above the doorway an ugly 
square window has replaced the original 
rose. In each side division is a closed-up 
window, divided by a shaft and with some 
good plate-tracery in the head. The cor- 




Fig. 40. — Bologna, Pal. Fava, Cojrt. 



62 



BOLOGNA 



iiices are mostly of brick with portions in 
gluzed terra-cotta, blue and green. The 
east end has a polygonal apse, each face 
containing a large window with steep gable 
over it flanked by pinnacles. To the fS.E. 
of the nave stands a high Gothic campa- 
nile of red brick, in stories of equal 
height", with unfinished Kenaissauce bel- 
fry. The interior is quite modernized, 
but with fine ett'ect. Three large dome- 
vaulted bays are separated by piers faced 
with Composite pilasters, carrying l;locks 
of a rudimentary entablature which bciir 
the great arches. These arches are filled , 
each witli a screen of three sub-arciies, 
lioriie on slight piers, and serving as the 
entrances to side-chapels. The transei)t 
is only simulated, and a dome covers tlu' 
crossing. The choir terminates in a [u)- 
lygonal apse, and is surronnck'd l)y an 
ambulatory with a circle of chapels. The 
church was founded in 12iJ7, and en- 
larg'ed in l-i%\ but was never finished. 
The campanile dates from 1272. 

S. Petuoxio. This church, one of 
the largest Gothic buildings in Italy, is 
yet but a fragment of what it was nu-aiit 
to be. Tiu^ original design conteinj)latcd 
a cruciform church some 750 ft. long 
and .-)00 ft. across the transept, covering 
an area nearly as large as that of St. Pe- 
ter's at Home, and surmounted by a dome 
130 ft. in diameter. The project was too 
vast for execution, and the existing church 
represents the nave only of this stupendous 
cathedral. Even in its fragmentary state it 
is, however, extremely imposing. Its ex- 
terior is unfinished. The great fayade 
presents an immense surface of bald rough 
brickwork, only the doorways being com- 
pleted. These are rather elaborate com- 
positions, much decorated with sculpture. 
The flanks of the church are lietter, show- 
ing a noble high basement, above which 
are fine, broad, lofty foui'-light wiiulows 
with traceried heads and gables separated 
I)y square l)uttresses. Within it is a five- 
aisled (duirrli of .six Ikivs. the outer aisles 



being divided into chapels, two to each 
bay, as in the Certosa at Pavia. The nave 
piers are like those of the cathedral of 
Florence — grouped, very low in proportion 
to the height of the nave, with high caps, 
and carrying extremely high pointed 




Fig. 41. — Bologna, S Petronio. 

arches, above which in the clerestory are 
small round windows, cusped, but with- 
out tracery. Those members of the nave- 
piers which front the nave are carried up 
as vaulting-shafts to the spring of the 
groined vault, which is high and simple. 
The aisles are lighted by circular windows 
in a low clerestory like those of the nave ; 
but the outer walls of the chapels are 
pierced with the large and beautiful win- 
dows above mentioned. The scale of the 
interior is prodigious, and was evidently 
determined upon the same theory which 
governed the design of the cathedral at 
Florence, and which has destroyed the 'd- 
fect of that church, the theory that gran- 
deur is ol)taiued 1)V merely increasing the 



03 



BOLOGNA 



size of all the parts of a design without 
multiplying their number. The bays of 
the nave of S. Petronio are rather more 
than GO ft. square. The nave, Avitli only 
six bays, is therefore about 360 ft. long, 
while the breadth of nave and aisles is 
about 180 ft., and the crown of the nave 
vault is nearly 150 ft. above the floor. 
Many famous names are associated with 
the history of this remarkable church. 
Andrea Manfredi Avas summoned from 
Florence in 1382, and made the first de- 
sign. In 1390, a model at one twelfth 
full size was built from the j)lans of An- 
tonio Vincenzi, perhaps the largest archi- 
tectural model ever made, and the corner- 
stone was laid during the same year, in 
the centre of the crossing, but the actual 
work was begun at the west end. The 
work was subject to frequent inter- 
ruptions ; Peruzzi, Giulio Eomano, Vig- 
nola, and Palladio were successively 
brought in for service or consultation, 
and the building was carried on until 
1659. (See Fig. 1^1.) 

SS. PiETRO E Paolo. See 8. Stefano. 

S. Sepolcro. See S. Stefano. 

S. Stefaxo. a most curious and in- 
teresting group of ecclesiastical buildings. 




Fig. 42.— Bologna, S. Sepolcro (S. Stefano). 

the oldest in Bologna, of which the ar- 
rangement can best be understood from 
the plan. They were built at widely dif- 



ferent periods, as is evident not only from 
the style but also from the varying levels 
of the floors. The dimensions are nowhere 
large, the whole grou}) measuring about 
250 ft. from east to west and 175 ft. from 
north to south. In the centre is the Corte 
di Pilato, so called, an open court or atrium 
with an open vaulted arcade on two sides, 
of plain round arches carried on grouped 
columns quatrefoil in plan, -with simi^le 
block capitals. In the court stands an 
ancient font consecrated to the Lombard 
Kings Luitprand and Hildebrand, the 
former of whom died in 744. It has an 
interesting inscription. From the east 
end of this court opens the church of Sta. 
Trinita, of which the easterly part is per- 
haps the oldest portion of the whole grouji, 
and from the west end the octagonal 
church or baptistery of S. Sepolcro, so 
named from the tomb of S. Petronio which 
was built within it in the xii cent, in imi- 
tation of the Holy Sepulchre at Jerusalem. 
The faces of the octagon toward the court 
are unbroken except by a simple doorway 
in each face, and some small windows high 
up in the Avails, but the Avails are cov- 
ered Avith a mosaic of brick and stone of a 
great variety of patterns. The interior of 
this building, Avhich is as a Avhole the old- 
est of all these churches, is very singular. 
{See Fig. 4^.) The central portion is 
twelve-sided, and the piers carrying the 
clerestory Avail are partly large round piers 
Avitli ancient cai^itals rude in design and 
execution, and partly slender coupled col- 
umns. They carry simple round arches, 
above Avhich is the high clerestory Avail 
with three-quarter shafts in the angles, 
resting on jflain corbels and terminating in 
a cornice of intersecting arches. The sur- 
rounding aisle or ambulatory is irregular in 
shape and vaulted in compartments alter- 
nately square and triangular, someAvhat 
suggesting the Eotonda at Brescia and the 
Miinster at Aix la Chapelle. The columns 
at the angles are varied, mostly Avith capi- 
tals of more or less classic character. 



04 



BOLOGNA 



South of the atrmm is a cloister of two 
stories : the rude first story has low round 
arches su^J^Jorted partly by massive round 
shafts, and partly by slender grouped 
shafts set in a square and covered, like the 
larger columns, by a plain slab. The plain 
brick wall above the arches bears a later 
arcade of round arches on columns cou- 
pled in depth, with capitals of various and 
often grotesque design. The spandrels 
and tlie wall aliove are faced with a pattern 
of colored bricks. Tlie wall is finished 
with a corbelled cornice. Adjoining the 
cloister on the west are two churches, one 
above anotlier, of wliicli the lower, called 
the Confessione, is presumed to date from 
the XI century. Its floor is below the level 
of the surrounding buildings, and the 
church, which was built al)ove it in the 
XVI cent., is now connected with tlie older 
church of 8. Giovanni west of it, to wliich 
it serves as a choir, its floor being reached 
by a broad ascending staircase. North of 
the bajitistcry and of tlie atrium is the 
churcli of S.S. Pietro e Paolo, one of the 
oldest portions of the group, a distinctly 
Eomanesque building witli short nave and 
side aisles, three eastern apses, and a liigli 
clerestory. Tliese divisions are plainly 
expressed by the front, which has how- 
ever been recently restored. The jiroject- 
ing central porcli is in two stages, first 
a round arch springing from square en- 
gaged piers with Byzantine capitals, and 
above it a shelf or balcony, bearing a sit- 
ting statue under a round arch on col- 
umns, with a high gable, and half gables 
on either side. The clerestory walls are 
divided by pilaster-strips against which 
are built strong triangular liuttresses. with 
single round-headed windows between. 
The front of the baptistery has also been 
restored, but the original character is well 
preserved. The octagonal wall of the 
aiul:)ulatory is in two stories, witli three 
round arches on each face below, and the 
second story })lain. with angle-shafts run- 
ning up to an arcaded eaves-cornice. In 



the middle face is a plain round-arched 
door. Above rises the plain clerestory 
wall with a diagonal pattern in brick, an 




Fig. 43. — Boiogna, S. Stefano, Plan. 
Scale of 50 feet. 

arched corbel-table iinder the eaves, and 
a low polygonal roof. The church of 
S. Giovanni, called also II Crocefisso, 
M'liich lies to the right of the baptistery 
and 2^1'o.iects westward into tlie square, 
is much dilapidated. It has an unbroken 
gable covering the whole front, a low 
pointed central doorway and a row of sin- 
gle pointed arclied windows above. On 
the nortliern corner of the front is a cir- 
cular pulpit supported on bold corbels. 
Behind this church rises the high rude 
gable of the modern choir already men- 
tioned, and at the south side a plain 
square brick campanile with two -light 
openings in the belfry and a flat roof. 
The history of this curious group of build- 
ings is obscure. The earliest portions, 
now comprised within the church of Sta. 
Trinita, are believed to have been built on 
the site and i^erhaps from materials of a 
Koman temple of Isis. as early as the end 
of the IV century. The baptistery, per- 
haps first built in the iii cent., was 
destroved and rebuilt about 540. The 



05 



BOEGO 



churclies of Sta. Trinita, SS. Pietro e 
Paolo, and S. Giovanni probably date from 
about 750. Various restorations took jolace 
early in the xi cent., and a century later 
the buildings came into the hands of the 
Benedictines, by whom the arcades of the 
upjDer cloister were built. [See Fig. Jf-S.) 

Sta. Trixita. See S. Stefano. 

The UxiVEKSiTY occupies, with the Mu- 
seum of Natural History, a Kenaissance 
palace built by Cardinal Poggi about 1570, 
from the designs of Pellegrino Tibaldi, sur- 
rounding three sides of a square court, of 
which the architecture, designed by Bar- 
tolommeo Triacchini, consists of two stor- 
ies of coupled Doric and Ionic pilasters on 
high pedestals, supporting continuous en- 
tablatures. On three sides of the court the 
intervals enclose blind arches, and windows 
v/ith pedimented caps ; on the side toward 
the entrance are broad open arches, flanked 
by square openings. The palace was 
bought by the Senate of Bologna in 1714 
for the purposes of the University ; several 
of its halls are decorated with fi'escoes by 
Tibaldi and Niccolo Abbate. 
BOKGO S. DONINO, near Parma, Italy. 

The Cathedral is an old church whose 
present form dates from the end of the xi 
century. The low broad front, of which 
only the lower story is finished, contains 
three deeply recessed and richly sculjDtured 
portals, with detached columns standing 
on griffins or lions. Above is a blank wall 
flanked by two insignificant corner towers. 
The interior is of fine bold Lombard design 
with double bays, grouped piers, and cush- 
ion capitals, and early pointed vaults. The 
triforium has quadruple arcades under en- 
closing arches, and the clerestory windows 
are coupled. 
BOZEA (anc. Bostra), Hauran, Syria. 

The Cathedral resembles in plan that 
of Ezra, but is on twice the scale, and is 
ruined. It is a circle of 120 ft. diameter, 
inscribed in a square of 125 ft., the corners 
being filled by semicircular niches, and a 
choir with a round apse projecting from 



the east side flanked by two sacristies, and 
these again by two small chapels with apses 
— an arrangement unparalleled in Syria. 
Tlie circle shows above the square in a 
round drum pierced with Avindows. Prob- 
ably there was an inner circle of arcaded 
piers carrying an inner drum surmounted 
by a dome, but they have disappeared, and 
a small basilica has been built inside the 
large church, continuing the lines of its 
choir. The walls are pierced with a great 
number of round-arched doors with tran- 
soms, and windows. An inscription gives 
the date 512 a.d. 

KoMAN Buildi:n^g, of rectangular plan, 
on the main street. It has a portico of 
two ranges of columns, the white marble 
bases of which remain in situ, and three 
tiers of niches in the wall. The execution 
and ornament are good. It is uncertain 
whether it was a temple or a porch. 

EoMAX" Walls, surviving on the west 
and south sides. The city was rectangular 
in plan, except that the N.W. and N.E. 
corners were cut off. The west gate is 
well preserved, displaying two arches, one 
over the other, and near the gate shell- 
shaped niches in the wall protected by 
triangular roof-canopies. The wall is 
strengthened by many square towers. 

The town was traversed by colonnaded 
streets, like many others in Syria. There 
are abundant remains of ancient buildings, 
exploration of which might lead to iden- 
tification, some good Eoman arches, and 
particularly four excellent Corintliian col- 
umns, about 47 ft. high, which belonged 
to some public building. There are also 
baths with extensive vaulted constructions. 

Theatre, south of the town and fac- 
ing north, over which is built a massive 
Arabian castle with many square towers. 
Six tiers of the seats of the theatre are vis- 
ible in the court of the castle. Its diam- 
eter is about 250 ft. Flights of steps 
lead up from outside the auditorium to 
the precinction or horizontal gallery, and 
there are arched passages in the substruc- 



60 



BEANCHID^ 



tions communicating with vomitoria. A 
gallery with Doric columns, of which some 
still stand, surrounded the auditorium 
above. The stage is about 25 ft. deep, 
and has a wall about 100 ft. long in two 
stories with decorative niches, and behind 
it several rooms. 

Triumphal Arch, of three oiienings, 
the middle one about 41 ft. high, besides 
a transverse arch. It has pilasters, one of 
which bears a Latin inscription. It stands 
on a pedestal 41 ft. by 20 ft. 
BRANCHID.E (Didyma), Asia Minor. 

Temple of Apollo Didymaios, a very 
ancient foundation which was restored af- 
ter the Persian wars and rebuilt at a late 
time by the Milesians on so enormous a 
scale tliat it was never finished. Two Ionic 
columns with their architraves, and one 
apart witli sliaft not yet fluted, are still 
standing. Tlie height of tlie columns is 
G3 ft., their diameter at tlie base, G ft. G in. 
The temple is described as decastyle, dip- 
teral, witli four columns between ant;\3 in 
the pronaos, and twenty-one columns on 
tlie flanks. Its dimensions were KiS ft. 
by 362 ft. The material is wliite marble 
with bluish markings. A Sacred Way led 
from tlie sea to the temple, bordered on 
eitlier side witli archaic seated statues, the 
figure and the chair being carved from a 
single block. 
BRE80IA, Italy. 

The Broletto is probably the largest 
of the mediaeval town-halls of North Italy. 
It is an immense pile of buildings with 
three fronts of irregular mixed design, 
enclosing a large quadrangle, on two sides 
of which are vaulted cloisters witli simple 
pointed arclies, carried on ])lain square 
piers. The external walls sliow for the 
most part three stories of windows, square, 
round - headed, and pointed, but are of 
various heights, and evidently of various 
dates. A tall rude bell-tower rises near 
one of the angles, with four pointed arches 
in the belfry, and crowned with forked 
battlements. The chief interest of this 



great building lies in its beautiful detail, 
executed for the most part in moulded 
brick. Some of the windows and cornices 
are of great elaborateness and elegance. 
Mothes gives 1187 as the date of the com- 
mencement of the building, which was, 
however, frequently interrupted by domes- 
tic disturbances and by foreign wars, so 
that it cannot be supposed to have been 
finished before .the second half of the xiii 
century. It has been much altered, and 
now contains the Courts of Justice. The 
tower was begun in 1213. 

The New Cathedral (Duomo Nuo- 
vo), S. Pietro, begun in 1609 by Giov. 
Batt. Lantana, is one of the most success- 
ful churches of its time. In plan it is a 
Greek cross, Avith tlie eastern arm length- 
ened into a deep choir, ending in an apse. 
The arms of the cross are barrel-vaulted, 
the re-entrant angles filled out to a square 
by chapels with low interior domes, and 
the crossing covered by a noble central 
dome, 270 ft. high. A single Corinthian 
order lines the interior, and the great 
piers under the dome are so grouped, of sal- 
ient pilasters and detached columns under 
the main arches, as to give great animation 
and buoyancy to the design. The facade, 
added later, is inferior. The dome itself, 
designed by Mazzoli, was not finished till 
1825. 

The Old Cathedral (Duomo Yec- 
cliio), also called La Rotonda, a remark- 
able and very ancient circular church of 
brick, adjoining the transept of the new 
cathedral of S. Pietro. Its exterior, ex- 
tremely simple, presents a low circular 
aisle, the floor some ten or eleven feet be- 
low the level of the street, with alow roof, 
above which rises the high clerestory wall, 
or tambour, with five rude, round-headed 
windows, doubtless modern, near the aisle 
roof, and above them a series of thin, flat 
pilastei-s, dividing the wall into panels and 
ending in an arcaded cornice. In the panels 
just under the cornice is a series of round- 
arched blind windows. The roof-surface 



BRESCIA 



is of low jjitcL, and is covered with tiles 
which lie directly on the dome beneath. 
The interior is not less simple. The cen- 
tral hall or nave has a diameter of about 
62 ft., and is surrounded by the aisle, 
which is 18 ft. wide. They are separated 
by a circle of eight massive piers about 
6 ft. square without base or capital, carry- 
ing round arches, above Avhich rises the 
clerestory Avail without string or cornice, 
supporting the hemispherical dome, of 
which the croAvn is about 80 ft. above the 
floor, with no lantern or other feature. 
The floor of the surrounding aisle is raised 
by four stejDS above that of the central por- 
tion. The vaulting of the aisle is pecul- 
iar, in compartments alternately rectangu- 
lar and triangular, separated by two round 
arches carried across the aisle from each 
pier, the rectangular compartments being- 
groined. Over the entrance doorway was 
a square tower, which fell in 1708 and was 
not rebuilt. The whole construction is 
very massive, the walls of the aisle and the 
clerestory being about 6 ft. thick. In the 
axis of the church beyond the Avail of the 
aisle, opposite the entrance and about 13 
ft. beloAV its floor, is the cruciform crypt 
of San Filastro, Avith three aisles about 33 
ft. long, of four bays each, terminating in 
apses, and divided by marble columns 
with carved capitals of various design, 
some of them strongly Byzantine in char- 
acter. The columns carry round arches 
and the bays are covered with simple four- 
part vaulting. The history of this build- 
ing is obscure. It has been ascribed to 
Queen Theodolinda. Some authorities 
have seen in it the basilica built by Count 
Raimondo at the end of the A'lii cent., 
the latest, Cattaneo, believes it to be later 
than the year 1000. The old basilica of 
St. Peter, occupying a site adjacent to the 
Rotonda on the east, was burned about 
800 ; and the Rotonda was afterward 
made to serve for the Cathedral. The 
basilica Avas repaired, and the tAvo cathe- 
drals Avere maintained on an equal footing 



side by side, one serving for use in Avinter, 
the other in summer. Portions of the old 
basilica still exist, incorporated Avith the 
presbytery and choir which Avere added to 
the Rotonda in the xiii and xv centuries. 

Palazzo della Loggia, or del Mu- 
NiciPio (Town Hall). This beautiful 
example of the best age of the Italian 
Renaissance, begun in 1508 by Formen- 
tone, Avas carried out by him as far as the 
floor of the second story ; it then passed 
into the hands of Sansovino, and was com- 
pleted about 1520 by Palladio. Its fa9ade 
is extremely simple in disposition, large in 
scale, elegant and refined in detail. It is 
in tAvo stories, the first an ojaen vaulted 
loggia of three arches nearly 20 ft. broad, 
springing from pilasters in the intervals of 
an order of engaged Corinthian columns 
crowned by a very light balustrade. AboA^e 
is an order of flat Corinthian pilasters 
panelled and decorated Avitli exquisite bas- 
reliefs, as is also the broad frieze of the 
corniccione, and enclosing single square 
AvindoAvs Avith fluted Corinthian pilasters 
and entablature. This story is croAvncd 
by a high thin balustrade, above Avhich is a 
modern attic. The interior was originally 
finished in a style corresponding with tlie 
fa9ade, but was quite destroyed by a fire in 
1575, Avith some fine pictures hj Titian. 

The Roman Forum. Part of its deco- 
ration survives in the form of a number 
of Corinthian columns, and some parts of 
a Roman theatre are visible in a private 
house near the Museum. 

Roman Temple, now serving as a mu- 
seum of antiquities. It Avas excavated 
and consolidated in 1822. It is Corin- 
thian, on a high stereobate, Avith a pictu- 
resque portico of tAveh'e columns and four 
piers on the front. There are three shal- 
low cellas side by side. The hexastyle 
middle portion of the portico projects be- 
fore the central cella, Avhile before each of 
the side cellas is a porch of two colixmns be- 
tAveen tAvo piers. A central flight of steps 
descends between square projecting piers 



68 



BEINDISI 



in front. The arrangement of the tem^^le 
is peculiar in that the portico and pedi- 
ment are on one of tlie long sides of the 
plan. An inscription shows that the 
building was dedicated by the Emjaeror 
Vesjjasian in 72 A. D., and that one of the 
cellas was sacred to Hercules. This mu- 
seum contains the celebrated bronze Vic- 
tory of Brescia. 

La RoTONDA. See Old Cathedral. 

S. Francesco, a late Komanesque 
church, said to have been founded in 
1210, has a front of stone with cornices 
and mouldings of brick divided into three 
parts by flat pilasters. In the central 
division is a good round-arched doorway 
with deeply splayed jambs and engaged 
columns, and a very heavy and rich hori- 
zontal cornice of brickwork. Above this 
is a fine rose window witli voussoirs of 
black and white marble. A single low 
gable with an elaborate brick cornice em- 
braces the whole front. A campanile rises 
from tlie south side of the clioir and a 
large and lofty sixteen-sided lantern from 
the roof of one of the chapels on the north 
side. The remainder of the exterior and the 
entire interior have been quite moderiuzed. 

Sta. GiULTA is a little Lombard churcli 
standing in the court-yard of the monastery 
of the same name, and dating perhaps from 
the later half of the viii century. Its 
plan and disposition are peculiar, a quadri- 
lateral measuring roughly 35 ft. square, 
over which is set an octagonal dome, its 
alternate sides carried on squinches cov- 
ered outside by triangular roofs. From 
the east side of the church, which was 
perhaps originally either a baptistery or a 
mortuary chapel, open three equal semi- 
circular apses. Tlie walls are of cut 
stone, divided by pilaster - strips which 
end in arched corbel-tables, and pierced 
by small arched windows. The dome is 
masked in the usual Tjombard manner by 
an arcaded eaves-gallery, and crowned by 
an arched corbel - table, and a low octag- 
onal roof. 



Sta. Maria dei Miracoli. A small 
Renaissance church of the xv cent., re- 
markable chiefly for its fa9ade, attributed 
to Giovanni Padoni, of which the central 
part, including a projecting porch of four 
Corinthian columns on pedestals with 
high entablature and panelled wall or attic 
above, is of extraordinary riclmess and 
delicacy of decoration, every surface being 
covered with marble bas - reliefs. The 
plan is square, with four central piers 
dividing the interior into nine bays, of 
which the central one is covered by a bar- 
rel vault, and the four adjacent bays by 
domes of unequal size. A square choir 
terminating in an apse projects eastward. 
BRINDISI (anc. Brundusium), Italy. 

The Castle is a square fortress with 
round angle-towers, surrounded by a higli 
wall witli square angle-towei's and a heavy 
machicolated cornice. Its original date is 
uncertain, but it was rebuilt in 1223. It 
was converted by Murat into a prison, for 
which it still serves, hut is now much ruined. 

Tlie Cathedral, dedicated to SS. Maria 
and Teodoro, was consecrated by Pope Ur- 
ban II. in 1089, and was rebuilt or com- 
pleted by King Roger between 1130 and 
1154, and decorated witli mosaics in 1178. 
It was damaged by an earthquake iu 1-156 
and destroyed by another in 1743, and re- 
built in tlie style of the period, the work 
being completed in 1749. The church re- 
tains substantially its original disposition, 
and a portion of the old mosaics has been 
brought together again on the walls of tlie 
nave. 

S. (Jiovaxxi Batttsta (St. John the 
Baptist), an interesting baptistery, as- 
signed by some authorities to the ix cent., 
and believed by some, but without much 
probability, to have been built by the 
Knights Templar. It is a circular build- 
ing with an interior ring of eight antique 
columns supporting round arches and a cir- 
cular wall above. This ring is surrounded 
by a circular aisle, divided by transverse 
arclies into irregularly vaulted bays, and 



BRUNDUSIUM 



broken eastward by a straight exterior wall, 
tangent to tbe inner circle, and from whose 
centre opens out of the inner circle a 
square, groined choir, with a semicircular 
apse pierced by three small windows. The 
roof of the building is much ruined, but 
traces of ancient fresco decoration are still 
visible on the walls. The exterior retains 
its original doorway, a round arch Avitli 
gable, springing from two marble columns 
on lions, their capitals sculptured with 
figures of birds and foliage. 

Two lofty unfluted late Roman col- 
umns, of Oipollino marble, one with a 
highly ornate capital bearing figures of 
gods, still standing, on the point of the 
inner harbor, seem to have served to 
bear lights to guide vessels into the port ; 
they may have marked the termination of 
the Appian Way. 
BRUNDUSIUM. See Brindisi. 
BRUSSA (Broussa, Brusa), Asia Minor. 

Jami Mosque (Oulon Djami), the larg- 
est mosque in Brussa, and one of the 
oldest, is a square of about three hundred 
feet on a side, divided interiorly into 
twenty-five comjjartments or bays se^Da- 
rated by piers, each bay covered by a 
low octagonal dome, except the middle 
one, Avhich is only closed against the en- 
trance of birds by a bronze grille, and 
serves as an inner court. A fountain oc- 
cupies its centre. The sanctuary, once 
richly decorated, is now plain, and dis- 
figured by whitewash. The pillars were 
inscribed with whole chapters of the 
Koran interlaced with arabesques, and 
the mimhar or pulpit was the work of a 
renowned Arabian sculptor. The exterior 
is very simple, the walls being relieved 
only by great pointed-arched panels run- 
ning from bottom to top. Of the three 
entrances the principal one on the front 
is a rich specimen of Saracenic stalactite 
work. On each side of it rises a slender 
minaret, round and channelled like a col- 
umn, with a muezzin's gallery at the top 
and high-pointed roof. Begun by Mu- 



rad I. (1360-89) it was continued by his 
son Bayazid and finished by Mohammed I. 
(1413-21). 

The Mosque of Mohammed I., the 
finest in Brussa, resembles in style the Mo- 
hammedan buildings of India. It lacks 
the usual court-yard, however ; a flight 
of marble steps leads directly to the main 
entrance. The sanctuary, approached by 
marble steps, consists of a double nave 
crowned by two domes, the outer walls 
being faced with fine marbles. About 
the doorway is inscribed the first chap- 
ter of the Koran, interlaced with foliage 
designs. The minaret, like the domes, 
was originally covered with emerald green 
tiles, whence the mosque was popularly 
called yecliil or green ; but the tiles have 
mostly fallen. Within, the walls are 
faced with enamelled faience. The mili- 
rah or prayer niche is of red marble, and 
there is a fine mimhar or joulpit. The 
mosque was founded by Mohammed I. 
whose name is inscribed on it, and who 
reigned from 1413 to 1421. 

St. Elias, a Byzantine church of pecul- 
iar form, built, it is thought, about 1250, 
— a plain brick rotunda 42 ft. across, cov- 
ered by a dome 55 ft. high. Eight half- 
round niches indent the wall inside, and 
similar ones correspond to them outside ; 
between those inside the overhang of the 
wall is carried on pairs of marble columns, 
and the thick Avail is offset some 5 ft. 
on the outside above the niches, simulat- 
ing an aisle. The rotunda is entered 
through one niche, athwart which is 
built a great oblong narthex in three 
bays. The interior is lined with marble, 
but the fire of 1804 destroyed the dome, 
which was rebuilt and stuccoed over. 
After the Turks occupied Brussa in 
1326, the church was taken as a mauso- 
leum for Sultan Orkhan. 
BYZANTIUM. See Consfanfinojile. 
CAERE. See Cervetri. 
CAESAREA (Kaiserieh), Asia Minor. 

Mosque oe Huen". A large mosque of 



70 



CAIETA 



the XIV cent., unique among buildings of 
its kind in Asia Minor. It has tlie usual 
division into fore - court and sanctuary, 
which are separated by a screen wall. A 
wall surrounds the whole, buttressed here 
and there with round turrets. Its peculi- 
arity is that the court, like the sanctuary, 
is divided into small bays roofed with low 
domes, only a small open atrium being 
reserved in front of the doorway of the 
sanctuary. Tlie area of four bays in 
front of tlie inihrah or prayer niche is cov- 
ered by a larger dome. The mosque was 
built by Huen, the founder of an order of 
dervishes. His tomb, in a corner of the 
court on the left of the entrance, is octag- 
onal with a pyramidal roof, and richly or- 
namented, the eight faces being panelled 
with pointed arches and the angles rein- 
forced by colonettes suppoi'ting a cornice of 
Arabic honeycomb work. Attached to the 
mosque are the buildings of a large mc- 
dresna or school. 
CAIETA. See Gacfa. 
CANOSA (auc. Canusium), Italy. 

The Cathedral, of early but uncertain 
date, dedicated to St. Peter, was destroyed 
and rebuilt about tlie beginning of the 
XII cent., and dedicated anew to St. Sa- 
binus. It is a Latin cross about 130 ft. 
long and 70 ft. wide, with five domes of 
e([ual size, al)out 2(J ft. in diameter, cover- 
ing tlie crossing and the square bays of 
nave and transept. The bays are sei^.- 
arated by transverse round arches spring- 
ing from square piers, and the domes are 
carried on sub-arclies, springing from slen- 
der columns of granite and verd-antique, 
with bases and quasi-Corinthian capitals 
of white marble. The square bay at 
the crossing forms the choir, extended 
eastward by a semicircular apse. The 
north aisle only is divided into bays. 
The ancient crypt is nearly choked with 
earth. On the front is an entrance 
porch in three divisions as broad as the 
nave, surmounted by a modern tower. 
The furniture of the church is of re- 



markable elegance. The high altar rests 
on four columns of green and white mar- 
ble ; the pulpit, of marble, about 5| ft. 
square, is one of the most beautiful in 
southern Italy. It is supported on high 
octagonal columns with Byzantine capi- 
tals, carrying round arches and richly or- 
namented with mosaic and carving in re- 
lief. The bishop's throne is of marble, 
supported on two figures of elephants, and 
with much interesting Byzantine carving 
in relief. Both the pulpit and the throne 
probably belong to the earlier church. On 
the south wall of the transept is an en- 
trance porch of two round arches sjsringing 
from stout columns with composite capitals 
with a strong horizontal cornice above. 
Outside is the small square chapel of Bo- 
liemond, the Norman hero, son of Kobert 
Guiscard — its front a blind arcade of four 
round arches, with a fine bronze door of 
panels enclosed in borders of graceful ara- 
besque designs in niello. The chapel is 
covered by a pointed dome on an octagonal 
drum, with slender angle - shafts supjwrt- 
ing a decorated cornice. 

There are ancient remains of consider- 
able extent and interest, including por- 
tions of the city walls, an amphitheatre, 
the triumphal arch of Terentius Varro, 
ascribed to the time of Trajan, an aque- 
duct, and an important necropolis of rock- 
tombs, which has yielded quantities of 
gold Jewelry, small bronzes, and painted 
vases of unusuallv large size. 
CAPRAROLA, U-A\i. 

The Castle, built in the xvi cent, 
from the designs of Vignola for the car- 
dinal Alexander Farnese, is perhaps his 
most celebrated work. Its plan is a reg- 
ular pentagon measuring about 130 ft. on 
each side, and enclosing a circular court 
G5 ft. in diameter, with an arcade of round 
arches on coupled columns. The castle 
sits on a high terrace, whose outline is 
parallel with its walls, and to which the 
approach is by two stately double stair- 
cases on the entrance front, M'ith an ad- 



CAPRI 



vanced arcaded poi'cli or loggia. Above 
this is the terrace wall, of plain stone ma- 
soni'v, with square pedimented windows, 
the angles marked by projecting bastions. 




Fig. 44. — Caprarola, Castle, Scale of 100 feet. 

Above the terrace rises the mass of the 
castle itself, in two stages, each about 30 
ft. high, with an order of pilasters, Ionic 
in the lower stage, Corinthian in the up- 
per, tlie former enclosing round arches 
and high pedimented Avindows, and the 
upper, two stories of square windows. 
{See Fig. U-) 
CAPRI, Italy. 

The Old Cathedral, dedicated to Sta. 
Costanza, is believed to have been founded 
as early as the vii cent., but has been much 
changed and enlarged in later days. It is 
now a rectangle about 36 ft. wide and 76 
ft. long, equally divided between the old 
and new portions. The fox'mer is divided 
by two ranges of four round arches each 
into three aisles of equal width, and these 
are again divided by transverse arches into 
twelve square bays. The three western- 
most bays were originally a narthex ; the 
remaining nine formed a square, enclosing 
a Greek cross, the central bay being cov- 
ered by a high hemispherical dome, the 
four arms of the cross by barrel-vaults, and 
the four bays in the angles by groined 
vaults at a lower level. The bay form- 
ing the south transept has a semicircular 



apse ; the central bay on the east had an- 
other, which was demolished, probably in 
the XV cent., to make way for the modern 
square choir, which is as wide and as long 
as all the rest of the church. The church 
was made the cathedral in 990, and this 
is perhaps the date of the central dome. 
The narthex was probably taken into the 
church when the choir was added in the 
XV century. 
CAPUA, Italy. 

Amphitheatke, at Sta. Maria di Capua, 
two miles east of modern Capua. It was 
probably built by the colony of Augustus, 
though it perhaps succeeded an earlier 
structure, as Capua had at an early period 
a noted school for gladiators, and was re- 
stored under Hadrian, 117-138 A.D., Sep- 
timius Severus and Pertinax, 192 a.d., 
and Valentinian III., 445 a.d. Under 
the Saracens, in the ix cent., it was con- 
verted into a fortress, and was almost to- 
tally ruined in the defence against Athan- 
asius. Bishop of Naples. Remains of several 
corridors and arches show it to have been 
a magnificent structure. It is much like 
the Colosseum, and was nearly as large. 
The plan is elliptical, the greater axis 557 
ft., the lesser 458 ft., while the arena 
measures 250 ft. by 150 ft. Its capacity is 
variously computed at from 42,000 to 62,- 
000 spectators. The sui3erstructure con- 
sists of three superimposed arcades of 
eighty arches each, ornamented through- 
out with columns of the Doric order. 
Heads of deities are sculptured on the 
keystones of the arches. The total height 
is 95 ft. The material of the arcades is 
squared blocks of travertine laid without 
cement ; of other parts, reticulated brick- 
work. The arena was floored with brick 
carried on vaults, presenting numerous 
square openings for trap-doors. The sub- 
structions remain more perfect than in 
the Colosseum. Canals for flooding the 
arena as a naumachy and drains for carry- 
ing the water into the river survive in 
good preservation. 



CASALE 



Arco Campano or Arco Felice. A 
Eoman triumphal arch, on the Via Ap- 
pia, near the amphitheatre. Of its three 
arches only the southern one is stiinding, 
together witli the pier of the middle one. 
The material is travertine, originally cased 
with marble. 

The Cathedral, whose date has been 
assigned to the ix and xi cents., is a three- 
aisled basilica. Tlie atrium of the original 
cliurch remains, surrounded by a colon- 
nade of twenty-four Corintliian columns, 
of which sixteen are antique, carrying 
rather stilted round arches. The church, 
which lias been once or twice rebuilt and 
recently restored, retains the Gothic ar- 
cades of the XIV cent, or perhaps earlier, 
carried on twenty-four columns with Cor- 
inthian capitals, more or less recut. The 
large cry2')t is Norman in character, with 
a circuit of marble columns, also of Cor- 
inthian form. 

H. An(;i:i,o i.v h'oKMis. The original 
cluircli, dating from the IX cent., was 
replaced or restored two centuries later 
in connection with the adjacent monas- 
tery of the same name, and consecrated 
in 1075. It is a small rectangular basil- 
ica, about 110 ft. long aiul CO ft. M'ide. 
An open portico of five groined bays gives 
access by a central doorway to the nave, 
which has seven round arclies on each side, 
springing from anti(|ue columns of marble 
and granite. The nave and aisles, ceiled 
with wood, terminate each in a round 
apse. The church is remarkable for its 
mural paintings, which were executed by 
Creek artists and covered the whole sur- 
face of the walls. The clerestory is painted 
with three ranges of pictures — the west 
wall of the nave bears a great picture of 
the Last Judgment covering all the space 
above the door, the central apse a picture 
of Christ enthroned among angels and 
saints. The front has a great porch 
later than the rest, extending across its 
whole breadth, with five high, stilted, 
pointed arches, on shortened antique col- 



umns of various sizes. The middle arch, 
broader than the rest and more stilted, 
cuts up through the horizontal cornice. 
On the wall under the porch and in the 
tympanum of the doorway are frescoes. 
Above the porch roof three small plain 
round-arched windows continue the clere- 
story under a low gable. A Roman temple 
of Diana once occupied the site, and is 
supposed to have furnished the columns 
in the church. Its peribolos wall may 
still be traced. On the south side of the 
church stands a low, detached campanile, 
of two stories, separated by a carved string- 
course, and a flat roof. 
CASALE MONFERRATO, Italy. 

Cathedral of S. Evasio. A striking 
old Lombard church built by Luitprand 
in 741, but much changed in the xii 
cent., and consecrated by Paschal II. as the 
catliedral in 1107. It is a five-aisled ba- 
silica, its plan a rectangle of about 105 ft. 
by 170 ft., of which a quarter is occupied 
by a narthex or vestibule of singular con- 
struction. The church is divided by cru- 
ciform piers and round arches into nave 
and aisles of six bays, groin-vaulted and of 
nearly equal height, the fourth bay open- 
ing into a transejit, and the crossing being 
covered with an octagonal dome. There 
is a rather deep choir, ending in a round 
apse and flanked by two others. The 
narthex is one of the curiosities of archi- 
tecture. It is three bays deep, and the 
aisles of the main church Avere carried 
across it, but in the beginning or later the 
four middle piei's were suppressed, while 
the vaulting compartments were retained, 
and the six central vaulting-bays are hung 
on two great transverse arches and two 
ramping half-arches that bear like flying 
buttresses against the inside of the fa9ade. 
The span of the great arches is nearly 
GO ft., and their height about the same. 
Apparently the half -column buttresses 
that flank the door were at first expected 
to stay the fa9ade against the half-arches, 
but were insutficient, and great wall-but- 



CASAMARI 



tresses were added. The fa9ade is mostly 
overbuilt. The exposed centre consists 
of a low arched doorway with stout col- 
umns and cubic capitals, and above, a 
blind arcade of interlacing arches whose 
columns have foliage-capitals. Over this 
an arched joanel encloses two triple win- 
dows under round arches, one over the 
other. Each side the doorway a tall col- 
umnar buttress divides the whole front, 
and, as has been said, is built over with a 
heavy wall-buttress. The front is under a 
single low gable, with an arched corbel- 
table. The details are of interesting early 
Lombard character. 
CASAMARI, Italy. 

A BEN'EuiCTijf E MoiSTASTERY was found- 
ed in 1088, which passed in later days 



Fig. 45, — Casamari, Convent Church." 




into tlie hands of the Cistercians, when 
its architecture was greatly modified. It 
now presents one of tlie most interesting 



examples in Italy of the pointed style, 
clearly indicating French jorototypes. The 
church appears to have been built in the 
XII cent., but was only consecrated in 
1217. It is cruciform in j^lan, with a 
length of about 150 ft., a breadth across 
the transept of about 110 ft., and an oc- 
tagonal dome at the crossing. Nave and 
aisles are separated by compound piers, 
carrying six pointed arches on each side, 
and are covered with groined vaulting. 
The fa9ade has three pointed arched door- 
ways, and above, a wheel window between 
two lancets. A fine cloister opens from 
the right transept, Avith slightly pointed 
arches in groups of three or tour, on small 
columns with foliated caj^itals of various 
design. A remarkable chapter-house is 
entered from the cloister, di- 
vided into three aisles by clus- 
tered columns, alternating with 
single columns and supporting 
pointed arches which divide the 
ceiling into groined bays. The 
room is lighted by four two- 
light pointed, arched wizidows 
divided by mullions. [Sec 
Fig. 45.) 
CASANOVA, Italy. 

The Cistercian Monas- 
tery of Casanova, not far from 
Penne in the Abruzzi, was 
founded in 1191, and in 1195 
was taken i^ossession of by 
monks from SS. Vincenzo ed 
Anastasio near Rome. It was 
abandoned in the xvi cent, and 
is now partly in ruins. It was 
originally of great size, mag- 
nificence, and wealth, the 
mother of three important mon- 
asteries (Ripalta, S. Pastore 
near Rieti, and S. Spirito 
d'Ocre), and with many others 
dependent upon it. The style 
of the buildings is pure Romanesque, with- 
out a trace of the Gothic, which, in more or 
less transitional form, was employed in con- 



74 



CASAUEIA 



temporary Cistercian monasteries. There 
appear to be two periods of construction, the 
earlier one of stone and the later of brick. 
The church consisted of three 
aisles, a transept with two 
square chapels, and a square 
apse, all covered with fiiie lofty 
tunnel-vaults. On one side of 
tlie ajjse is a fine Gothic hall 
with a high ribbed cross-vault, 
somewhat later in date than 
the church. The refectory was 
supj)orted by a forest of col- 
umns sustaining cross - vaults, 
divided into three aisles, and is 
the largest lielonging to the or- 
der in Italy witli the exception 
of that at Casamari. The 
chapter - house belongs to tlie 
period of the brick construc- 
tions, and consists of six cross- 
vaults supported hy two shafts 
with plain semi-cubic capitals. It is well 
known that the tunnol-vault was very sel- 
dom used in Italian Romanesque architec- 
ture ; here at Casanova it is employed on 
a scale hardly equalled in other instances. 
Other examples of the use of the tunnel- 
vault, in buildings belonging to the Cis- 
tercian order, such as S. Pastore at liieti, 
S. Spirito d'Ocre, and SS. Vincenzo ed 
Anastasio near Rome, sliow that it is due 
to the influence of the latter monastery. 
Two contemporary cliurclics not belong- 
ing to the order show the spread of the 
tunnel - vault to Umbria ; they are the 
cluu'ches of S. Silvestro and S. Michele at 
Bevagiui near Poligno. [A. L. F., Jk.] 
CASAURIA, near Pescara, Italy. 

S. Clemente, the abbey church, was 
founded in 854 by Ludwig XL, was de- 
stroyed in the xi cent, by the Saracens, 
and rebuilt in the xri substantially as it 
now appears. It is a tliree-aisled basilica, 
with transept and single apse raised above 
the nave floor. The nave, about 125 ft. 
long by 50 ft. wide, is in seven bays of 
pointed arches carried on square piers. 



and is covered by a wooden tunnel-vault, 
tied across. The apse is entirely Lombard 
in character. Beneath is a crypt sup- 




Fig. 46. — Caserta Nuova, Royal Palace, Stairway. 

ported by twelve antique columns, which 
doubtless belongs to the original church. 
Tlie liandsome square pulpit dates, accord- 
ing to its inscription, from the ix cent., 
and the altar is an old Christian sarcopha- 
gus. The interesting part of the exteri- 
or is the front, which has an open porch 
of three arches, one round between two 
pointed, of somewhat Norman character, 
and above, a range of coupled windows 
with dividing shafts, and ends horizontally 
without a cornice, as if unfinished. 
CASERTA NUOVA, Italy. 

The Royal Palace, built in 1752 from 
the designs of Ludwig von Wittel, better 
known under liis Italianized name of Van- 
vitelli, perhaps his most celebrated work, 
is one of the lai'gest of European palaces, 
covering a rectangle measuring 780 ft. by 
546 ft. Its plan is extremely simple ; the 
outer circuit of buildings encloses a space 
which is divided by two cross wings into 
four equal courts, each about 230 ft. long 
and IGO ft. wide. At the centre is a great 
octagon froni which opens the grand stair- 
case, and which is covered by a dome. 



75 



CASERTA 



The plan includes a cliapel, very ricli in 
precious marbles, and a theatre adorned 
with sixteen Corinthian columns of Af- 
rican marble taken from the temple of 
Serapis at Pozzuoli. The decorations 
throughout the palace are rich and ele- 
gant, the construction very solid, and the 
ceilings everywhere vaulted. The exte- 
rior design is somewhat ineffective — two 
ranges of pedimented windows above a 
high basement and beneath a long hori- 
zontal cornice, with pavilions at the angles 
ajid centres, including the two vipper sto- 
ries under an engaged Corinthian order, 
and pediments over the central pavilions. 
{See Fig. ^6.) 
CASEETA VECCHIA, Italy. 

The Cathedral (St. Michael), re- 
built in 1153. is one of the most impor- 
tant and interesting monuments of the 
Norman occupation of South Italy. It is 
a small basilica measuring 153 ft. in length 
and 63 ft. in width, or 90 ft. across tran- 
sept. The flat-ceiled nave and aisles are 
separated by ten tall round arches on each 
side, carried on Corinthian columns, above 
which is a high wall with small round- 
headed clerestory windows. The transept 
has a single square groined bay on each 
side of the crossing which forms the choir, 
and is covered by an octagonal dome on 
four high slightly j)ointed arches, with 
pendentives springing from angle-shafts. 
The drum of the dome has a blind ar- 
cade of round arches on slender engaged 
shafts. From the crossing opens a mod- 
ern rectangular chancel. The choir is fur- 
nished with stalls of the xv century. The 
exterior is very interesting. The unbrok- 
en wall of the front follows in outline 
the interior section. There are three plain 
square-headed doorways under round bear- 
ing-arches guarded by monsters. Over 
the central door is a single round-headed 
window with corbelled shafts. Above a 
horizontal arched corbel-table is a low ga- 
ble with interlacing arcades. At the south 
angle of the front is a fine tower, finished 



in 1234, decorated with interlacing ar- 
cades, two light windows, and angle-tur- 
rets. The flanks of the church are very 
sim|)le ; small round-headed windows light 
the aisle and clerestory ; the transept 
has small horse-shoe windows, and low 
gables faced with blind arcades. The re- 
markable central lantern is decorated with 
mosaics in the Sicilian manner in two sto- 
ries of blind interlacing arcades. A band 
of square panels between the stories, a belt 
at the level of the upper capitals, and a 
frieze under the cornice are similarly deco- 
rated, as is also the whole surface of the 
upper wall. The lantern probably dates 
from the later half of the xiii century. 
CASTEL D'ASSO (Castellaccio, anc. 
Axia), Italy. 

The Etkuscan Necropolis is formed 
of rock-cut chambers with architectural 
fa9ades from 12 ft. to 30 ft. high. The 
range of tombs extends for a considerable 
distance, like a street, along the side of a 
lateral ravine. The doors narrow toward 
the to]]. like those of the Egyptians ; the 
details of the burial-chambers, and the 
abundant inscriptions, are all interesting. 
CASTEL-bEL-MONTE, Italy. 

An ancient and ruined castle on the 
summit of a hill about twelve miles from 
Trani, built during the earlier half of the 
XIII cent, by the Emperor Frederick 11. 
as a hunting seat. In plan it is an octa- 
gon, 130 ft. in diameter, with an octagonal 
tower at each angle and divided by radiat- 
ing partitions in each story into eight 
vaulted chambers about an octagonal 
court. The pointed arched ribs spring 
from angle-shafts of red and white marble, 
single and grouped. Small spiral stairs 
in four of the angle-turrets connect the 
two stories. The exterior is very simjsle. 
It has a single pointed arched door under 
a simulated porch, and in the upper story 
two-light traceried windows, under pointed 
bearing-arches. 
CATANIA (anc. Catana). Sicily. 

Amphitheatre, probably of the time 



76 



CATANIA 



of Augustus. It remained intact until 
498 A.D., when Theodoric gave permission 
to the citizens to repair tlie city walls with 
its stones. Only a few arches and vaulted 
corridors are now visible. The plan is el- 
liptical, the greater axis about 410 ft., the 
lesser 345 ; axes of the arena, 230 and 
164 ft. The material is concrete cased 
with massive masonry, with brick vault- 
ing under the seats, which are of lime- 
stone. Traces of aqueducts show that it 
was used for the naumachy. 

The BKXKnicTiN^E IMoxasteuy of St. 
Nicholas, tliougli never completed, was one 
of the largest and most magnificent in 
Europe. It is an immense enclosure, in- 
cluding two coui'ts about 130 ft. square 
out of four that were intended, surround- 
ed by buildings, and behind them superb 
gardens. The courts are lined with ar- 
caded cloisters in two stories. In the 
front court the arcades are composed of 
the .so-called Pal hu Han motive, the arches 
enclosed in an order of Tuscan columns, 
with a sub-order supporting tlic imposts ; 
producing an effect of gi"cat magniflcencc ; 
in the otlier, the arches spring directly 
from the columns, with the light effect of 
the early Renaissance. The cliurch, dedi- 
cated to St. Nicholas, and imbethled in tiie 
buildings witii its front to the street, is 
very large, measuring some 3G0 ft. long 
and more than 200 ft. across the transept, 
and still unfinished on tlie outside. Tiio 
broad nave consists of two square domed 
bays and a tliird shorter and barrel- 
vaulted. The crossing is also covered by 
a dome, tiie aisles carried round both 
sides of tlie transept as well as the nave 
and choir ; tlie transept arms and the deep 
choir which is flanked by two square 
chapels all end in round apses. Tiie 
monastery was founded in l^^'^S and was 
twenty years in building, was injured by 
an eruption of ]\[ount ^Etna, and restored 
in 1G87. Six years later it was partially de- 
stroyed by an earthquake and abandoned. 
In 1730 it was again restored, and was oc- 



cupied as a monastery till it was secular- 
ized under Victor Immanuel. 

The Cathedral (Sta. Agata) contains 
the shell of the earliest church, built un- 
der Koger I., on the ruins of the Roman 
thermge, and consecrated in 1094. It was 
injured and again practically destroyed by 
an earthquake in 1169, which buried the 
abbot and a crowd of peojile, and again 
in 1693, after which it was entirely re- 
built, the front being added by Vaccherini 
toward the middle of the xviii century. 
It is a three-aisled church with transept, a 
dome over the crossing, and three eastern 
apses, about 300 ft. long and 100 ft. 
across the transept. The interior is en- 
tirely modern, but the walls of the apses 
and transept still show on the outside an 
arcade of pointed arches which probably 
dates from the rebuilding at the end of the 
xri century. The earlier Lombard west 
(h)orway was afterward transferred to the 
church of S. Carcere. Vaccherini's low 
broad baroco fa9ade, following the out- 
line of the nave and aisles, is decorated 
with two orders of grouped columns, 
among which are six that are believed to 
have come from tJie ancient baths, whose 
remains are still to be seen beneath the 
church. Behind the facade rise a well- 
proportioned (lonio and cupola on a drum 
decorated with an order of engaged Co- 
rintliian columns. The handsome choir- 
stalls, of L')02, represent in carved panels 
the story of St. Agatha, whose relics oc- 
cupy her chapel in the right apse. 

Sta. Maria dell a Roto x da. This 
structure is a M'ell-preserved ancient Roman 
circular building with a dome resting on 
eight arches. The walls are of lava and 
brick coated with a very fine stucco. Near 
the high altar a large arch opens into what 
was apparently the vestibule connecting 
with the baths of M'hich it probably was 
part. 

Theatre, in the midst of the modern 
citv, on the Strada del Corso. The foun- 
dations are Greek ; the superstructure. 



CATTARO 



now in great part nnderground, is Roman. 
The cavea is a semicircle, facing south ; 
there are two precinctions or horizontal 
passages, and there was a portico around 
the upper boundary. The massive exte- 
rior masonry is of lava ; the concrete of 
the vaults is strengthened with brickwork. 

Therm.^ (Baths). Ten rooms remain, 
some of them in excellent preservation. 
The chief of these, octagonal in jjlan, with 
niches in the concrete walls, a lava vault, 
and brick arches, is identified as the apo- 
dyterium or dressing-room. The frigi- 
darium, tepidarium, and caldarium are all 
more or less well preserved ; in the walls 
of the last is visible part of the system of 
hollow tiles by which heated air was con- 
veyed. Outside of the caldarium the fur- 
nace is seen. 
CATTARO, Dalmatia. 

The Cathedral (S. Trifone) is a xii 
cent, basilica, altered after an earthquake 
in the xvii. It has a lofty nave of four 
bays, aisles, and three apses against the east 
wall. It is round-arched with grouped 
nave piers alternating with single columns, 
there being two square bays of the aisles 
to one of the nave, except the westernmost 
bay, which is of half the length of the 
others. The bay next the choir has the 
original vault, the rest of the vaulting- 
being later. The first church was built in 
809 A.D., to receive the bones of S. Trifone. 
It was destroyed and rebuilt — consecrated 
in 1166. In 1667 an earthquake destroyed 
the fa9ade and towers, which Avere rebuilt. 
It contains a handsome baldacchino over 
the high altar, after the Dalmatian form, 
in three octagonal arcaded stories carried 
on a four-square architrave by four col- 
umns. 
CECCANO, Italy. 

Sta. Maria del Fiume, near the city, 
originally belonged to the Cistercians. It 
is cruciform, with a square apse and no 
side-chapels. The present length is 105 
ft. without counting the present apse, 
which is modern ; the width is 52 ft. across 



the nave and aisles and 70 ft. across the 
transept. The nave and aisles have groined 
cross- vaults over their four bays sujoported 
by unmoulded piers ; while the transept 
has ribbed pointed cross-vaults like those 
at Fossanova and Casamari. The main 
arches of the nave and all the transverse 
arches but two are pointed. The fa9ade 
has a rose window similar to that at Val- 
visciolo {q-v.) but smaller, and the door- 
way underneath is round-headed. The 
tower over the farther bay of the left-hand 
aisle is early and is supported on a tunnel- 
vault. The main body of the church ap- 
pears to have been built in the xii cent., 
the transept in the xiii, and the transi- 
tion from one to the other is evident ; a 
developed Gothic style is shown in the 
tracery of the windows in the transept and 
in the banded engaged columns of its piers 
similar to some at Casamari. The conse- 
cration of this church in 1196 is described 
at length in the chronicle of Fossanova. 
[A. L. F., Jr.] 
CEFALU, Sicily. 

The Cathedral, built between 1131 
and 1148, by Roger II., and more or less 
altered in the xiii and xiv cents., is a 
three-aisled basilica, with projecting tran- 
sept and a deep choir and two lateral 
clia|)els, all ending in round apses. It 
was at first a smaller church, which, ac- 
cording to tradition was an offering of the 
king to St. George for his preservation 
from a dangerous storm at sea, but was 
injured by fire and converted into the 
present great church immediately after its 
first completion. The front is recessed 
and flanked by two high and massive 
square towers with pointed windows, sur- 
mounted by small square pavilions, rising 
behind parapets and crowned by low 
spires. The recess is filled by a light 
open vaulted porch of three arches — one 
round between two pointed. This is a 
later addition and covers the original 
round-arched Normanized door-way. Over 
the porch are two blind arcades of pointed 



78 



CEEVETKI 



arches, interlacing below and single above. 
Tlie nave, lower than the transept and 
choir, was apparently not carried to its 
intended heiglit, leaving the faQade and 
flanks unfinished. The east end shows 
tlie lofty clioir and low side-apses enriched 
with coupled shafts and blind arcades, 
partly simple and partly interlaced. The 
arches throughout are pointed, excejit the 
west door. Tlie church is about 2G5 ft. 
long by 135 ft. across the transept. The 
nave, 40 ft. wide and 65 ft. high, is in 
seven bays of stilted pointed arches with 
columns whose capitals are some antique 
and some Lombard. The clerestory has 
single windows and a wooden open-tim- 
bered roof. The transept and crossing, 
raised several steps above the nave, are 
some no ft. high. The crossing seems to 
have been intended for a central tower or 
dome, which is lacking ; the choir is 
groined, with corbelled vaulting -shafts, 
and adorned with mosaics, among the 
finest in Sicily. Against the entrance pier 
of the choir, which is raised a little above 
the crossing, are set, facing each other, 
the throne of the bishop aiul one for the 
king — an arrangement 2)eculiar to Sicily, 
where the kings claimed a sacerdotal rank. 
Three sides of the cloister of the adjoining 
convent remain, with pointed arcades on 
coupled columns whose shafts are twisted 
and enriched, and the capitals variously 
carved, resembling those at Monreale. 
CERVETRI (anc. Agylla, Ca^re), Italy. 

ToMH OK THK Eeliefs, discovered 1850 
by the Marquis Campana. It is reached 
by a long flight of rock -cut steps, at 
whose entrance are sculptured two large 
lions. The cliamber, measuring 25 ft. by 
21 ft., is surrounded by broad, rock-cut 
benches. Two square piers support the 
panelled roof, and in the walls are cut 
thirteen rectangular niches for bodies. 
This tomb is remarkable for the abun- 
dant painted reliefs on its walls and piers. 
The burial niches are separated by fluted 
pilasters, whose capitals, like those of the 



roof -piers, approach the proto- Ionic or 
yEolic type. On every pilaster is carved 
a round shield. Above the niches runs a 
frieze of varied Etruscan weapons, all in 
relief and colored. Over the doorway are 
placed sacrificial emblems. The faces of 
the roof-piei's are carved with a variety 
of domestic and sacerdotal implements. 

Tomb of the Tarq.uins, ■ identified 
beyond reasonable doubt as a burial-place 
of the great kingly family of Rome. It 
consists of a rock-hewn vestibule from 
which a flight of steps leads down to a 
second chamber, 35 ft. square, with a 
panelled roof in two slopes supported by 
two square piers in the middle. A plain, 
rock-hcAvn bench runs along both sides, 
and thirteen rectangular niches for bodies 
are cut in the walls, in a single tier. The 
entire interior is coated with stucco, on 
which numerous inscriptions are impressed, 
or painted in red or black, together with 
some ornament, as wreaths, pilasters, cas- 
tanets, claw-footed legs of couches, so dis- 
posed as to give the niches the appear- 
ance of beds, and a circular shield on one 
of the piers. Among the inscriptions the 
name of Tarquin occurs thirty-five times. 
CHALCIS. iieeAii/nr. 
CIIIARAVALLE, near Ancona, Italy. 

The old Benedictine Monastery has 
a church of the Cistercian tyj^e, transi- 
tional in style, with an inscription bearing 
the date of its building in 1173. It is 
cruciform, with a nave and aisles of six 
bays, jjointed arcades, and vaults, pro- 
jecting transept of two bays, and a square 
projecting choir, flanked on the left, and 
formerly on the right, by three square 
chapels. The exterior is Romanesque in 
tvpe. 
CIIIARAVALLE, near Milan, Italy. 

The Abbey CiiUEcn resulted from the 
enthusiasm aroused by a visit of Bernard 
of Clairvaux to Milan, in 1134. The 
first Cistercian monastery in Italy was 
founded during the next year, and the 
church was consecrated in 1221. It is a 



79 



CHIAEAVALLE 



large cliiirch with a long nave of nine 
bays, long transei)t, a square-ended choir, 
a simj)le square campanile at the front, 
and over tlie crossing a remarkable lantern 
or tower, which is the only important ex- 
ternal feature. It is octagonal, the lower 
portion as broad as the nave of the church, 
with a two-light window under a round 
bearing-arch in each face, and two ranges 



greater part is concealed by the upper 
stages of the octagon which are built 
roiind it. The interior is spacious and 
not without grandeur, though now dis- 
mantled and covered with wliitewash. 
The nave has four bays in front of the 
crossing, massive piers with simjole impost 
moulding, and round arches. On each al- 
ternate pier is carried up a pilaster from 




Fig 47 — Chiaravalle, Abbey Church. 



of open arcaded galleries above. At this 
point a somewhat later construction begins 
— a series of diminishing arcaded galleries, 
out of which rises a slender tower in two 
stories, the iipper one an arcaded belfry 
stage finishing with an open balustrade 
and a round brick spire. The whole is 
graceful and effective. The construction 
of the lantern is interesting. The lower 
division has a double wall, of which the 
inner portion carries the wall of the sec- 
ond division. From the top of this latter 
wall starts the real spire, of which the 



which a transverse arch is carried over the 
nave. Between the arches the nave is 
vai\lted in a single square four-part vault. 
There is no triforium, but a simi^le clere- 
story with round arched windows. The 
central lantern shows, within, two stories 
above the nave vaulting, and an octagon- 
al dome, covered with modern paintings. 
The transept arms are large, as high as the 
nave, and have each three easterly chapels. 
The square choir has a beautiful double 
row of stalls, dating from the xvii cent., 
and enriched with fine carvings. The 



so 



CHIETI 



clioir lias the remains of frescoes by Ber- 
nardino Luini. {Sec Fig. 47.) 
CHIETI, Italy. 

The Catheuual is an xi cent, church 
consecrated in 1068, but repeatedly rebuilt 
in the xvi, xvir. and x.viir cents., and 
last in 1848. Little of the original church 
remains beyond the general disposition. 
The nave and aisles are each in four 
groined bays ; tlie rectangular transept 
with three eastern apses is raised by thir- 
teen steps above the nave, and under it is 
a fine crypt with seven aisles, each three 
bays in length, and three apses. The 
tower on the front dates from 133.5, but 
its upper story from J 498. 
CIBYRA, Phrygia, Asia Elinor. 

Odeum, or small theatre, al)out one 
hundred j'ards south of the large theatre. 
The exterior diameter is 17-5 ft.; thirteen 
tiers of seats are visible, and probably more 
are hidden in the lower part. Its front is 
a high wall })ierced with five arched door- 
ways flanked by two square ones, and re- 
mains nearly entire. 

Theatre in the upper part of the city. 
The exterior diameter is "^(il! ft.: there are 
thirty-six tiers of seats visible, twenty-one 
above the dinzonut or horizontal passage, 
and fifteen below, and prol)al)ly more ex- 
ist under the soil. Oidy the foundations 
and a doorway of the stagi'-structure are 
left. 
CITT.V 1)1 C'ABTELLO. Italy. 

The CATiiEDiiAi,, dedicated to S. Flor- 
ido, is an early Renaissance building, re- 
placing the original cluirch of lol'^, de- 
stroyed by the earthquake of 14.58, and 
of which oidy the round l)ell-tower re- 
mains. The present cliurch. begun, in 
148^, but not finished until about 1.530, 
and consecrated in 1540, is cruciform in 
l)lan with a length of about 210 ft. and a 
breadth of T5 ft. It has a broad nave 
without aisles, covered by a coft'ered wood- 
en ceiling, and flanked by six rectangular 
chapel-like barrel-vaulted recesses on each 
side, of which one is an entrance vestibule 



and the opposite one the vestibule of a 
large square chaj^el of later date than the 
church, dedicated to the Holy Sacrament, 
and covered by a round dome. An order 
of Corinthian pilasters encircles the church, 
under whicli round arches enter the nave 
chapels. Above the roof of the chapels is 
a clerestory set with an order of pilasters 
and pierced by windows with pediment 
caps. The nave opens by a triumphal 
arch into a transept as high as itself, and 
the crossing is covered by a hemispherical 
dome raised on a dram and masked with- 
out by a great octagonal lantern. The 
square choir is a prolongation of the nave 
and covered by a flat domical ceiling. 
The design of the church has been attrib- 
uted to Bramante, but there seems little 
doubt that the architect was Elia di Bar- 
tolomnieo Lombardo. 
CITTADUCALE (anc. Aquaj Cutilia?), 
Italy. 
The site of the ancient city is long and 
somewhat narrow; it abounds with Eo- 
man ruins, still mostly uuexcavated, 
among which aqueducts and therms are 
the most noticeable. One of the baths 
has been in part explored ; part of its ex- 
terior walls, in reticulated masonry with 
cordons of tiles, still rises to a height of 
several yards. Along the south and east 
walls there is a series of chambers. 
Among them is a n^miphgeum in which 
are four fountains coated with hard stucco ; 
their semicylindrical vaults are adorned 
witli shells of various kinds, and they 
have at the angles graceful little pilasters 
inlaid with small bits of marble of different 
colors, and blue glass. The walls of the 
caldarium or hot bath were plastered in 
white, with the lower part and panelling in 
red ; three tiers of seats skirted the walls, 
which were adorned with niches and pilas- 
ters. The entii-e floor of this hall, includ- 
ing the tank, was raised on short piers for 
the needs of heating. There are abundant 
remains of the hypocaustum, with its 
heating-furnaces and pipes. 



CIVATE 



CIVATE. Italy. 

The little Church of S. Pietko 
■was attaclied to a Benedictiue monastery 
founded in the ix cent, in the remote and 
mouutainous region now known as the 
Brianza. It stands high on the mountain 
side above the town^ surrounded by tlie 
ruins of its monastery ; and is approached 
by a long staircase at the principal en- 
trance at the east end. Its plan is a sim- 
ple rectangle, about 25 b}' 75 ft. ' inside, 
with a semicircle at each end. The exte- 
rior is of the simplest design, the walls are 
of stone and divided into ratlier narrow 
panels by slender pilasters ending in an 
arched corbel-table. A small square cam- 
panile of comparatively recent date is 
attached to tlie south Avail. The western 
semicircle is tlie apse of the choir, which 
occupies a third of the rectangle, and 
Avhose floor is raised five steps above that 
of the nave. Tlie eastern semicircle is 
divided into three vaulted compartments, 
of which those at the sides end in semi- 
circular recesses, tlie central one being 
occupied by the doorway. These com- 
partments are separated from the nave and 
from eacli other by rouud arches resting 
on columns, as is done in the little chapel 
at Cividale di Eriuli [q.v.), which is like 
this church in many of its features. A 
high crypt extends under the east end of 
the church, with three aisles, divided by 
columns into square vaulted bays and 
lighted by narrow windows in the east and 
south walls, which, owing to the slope of 
the hillside, are entirely above ground. 
The round-arched ciborium as Avell as the 
architectural features are executed in stuc- 
co, of much delicacy and vigor, as at Civi- 
dale. The nave has a wooden roof and 
the western apse a semi-dome. The in- 
terior walls and vaults were covered with 
ancient paintings in good preservation a 
few years ago, but recently covered with 
whitewash. 
CIYIDALE DI FEIULI. Italy. 

Sta. Maria ix Valle. This little 



church, of small importance from its size, 
is of great interest from its antiquity and 
from certain characteristic features in its 
construction and decoration. Its plan is 
a simple rectangle about 20 ft. by 32 ft. 
Of this length, two thirds are given to the 
nave, covered by a single groined four- 
part vault. From the eastern side of the 
nave three stilted round arches, carried on 
Corinthian columns, open into the sanc- 
tuary four steps higher, which is roofed 
with three narrow barrel-vaults and shut 
oif from the nave by a low marble screen, 
with an opening in the centre. At the 
spring of the vault a delicate moulded cor- 
nice was carried around the west, north, 
and south walls of the nave. In the mid- 
dle of the front, a square doorway is cov- 
ered by a round arch with an elaborate and 
beautifully decorated archivolt, springing 
from columns on each side, of which only 
the mutilated cajiitals remain. Traces of 
an ancient fresco remain in the tympanum. 
Above, within the arch of the vault, is a 




Fig. 48.— Cividale di Friuli, S. M, in Valle. 

liroad frieze of sculpture, witli a round- 
arched windoAv in tlie middle, and three 
life-sized figures of saints. This sculpt- 



8-2 



CIVITA-CASTELLANA 



ured decoration of frieze, cornice, and about 1172, but substantially rebuilt in 
archivolt is executed with great delicacy the xvi century. The ancient crypt re- 
in stucco, portions of it on a ground of mains, as also a remarkable west jaorch 




Fig. 49. — Civita-Castellana, Cathedral, Porcli 



pale blue glass, and accentuated at certain 
points by bulbs of the same material. 
The inner walls are of brick, covered Mitli 
plaster, and, as well as the vaults of the 
sanctuary, were decorated Mith frescoes, of 
which portions are still visible, though 
much dilapidated. The pavement is of 
marble. The history of the monument is 
somewhat obscure. Parteiu believes the 
nave to have been a lloinau lemple. and 
all the authorities agree that wlieii. sdinc 
time in the viu cent., a monastery was 
founded by a duchess of Friuli variously 
named Gertrude or Piltnulc. this building 
was taken as its chapel. Its insignificance 
has saved it. In its present use, what we 
have called the nave serves as a choir, and 
the walls are surrounded on tliree sides by 
a line of wooden stalls with niiu'h fine 
carving, covered by a continuous canopy, 
and thought by Darteiii to he as old as the 
XIV centurv. {Spc Fiq. J/.S.) 
C'IMTA-CASTELLANA, Italy. 

Tlu' C'atheduai. of St.v. Mauia is a 
basilieau church datiiiu" originally from 



dating from 1210, composed of a central 
round arch capped by a semi-classic entab-» 
lature with slender angle pilasters, and 
flanked by galleries supported by small 
Ionic columns and covered by an entabla- 
ture at the level of the springing of the 
central arch. The friezes are decorated 
with mosaic. The great entrance door- 
way under the porch is a fine feature — a 
round arch in three orders springing from 
a s([uai'e pilaster and two shafts on each 
side. The shafts rest on lions. The 
square door-way is enclosed in a band of 
mosaic, and the arch -head contains a 
half rose. This porch and door- way are 
among the best and earliest examples of 
tlie work of the Eoman Cosmati, so- 
called ; and the porch bears the inscrip- 
tion : :\[A(IISTEh\ .TAC'OBFS. CIVIS. 

l}o.^[Axrs. CUM. cosma. riLio. 

SrO. FIERI. FECIT. HOC. OPUS. A. 
DM. yWVX. {Src Fi)/. W.) 
CXIDUS (Knidos), Asia Minor. 

The ancient Fortification Walls re- 
main very perfect ; they consist of two 



s:j 



COLOXIA 



main stretclies, one runuing east and west, 
tlie other nortli and south, and meeting 
on a hill X. E. of the city ; the former 
stretch is partly in Cyclopean masonry, 
somewhat rude, the latter stretch is of 
good Hellenic masonry, and is strength- 
ened by several towers. There is a partic- 
ularly tine circular tower at the end of the 
peninsula, near the more northern of the 
two harbors. 

Theatee, of large size, with thirty-six 
tiers of seats, subdivided by two precinc- 
tions or horizontal passages of communi- 
cation. The cavea is surrounded above by 
a plain concentric wall, and remain^ in ex- 
cellent preservation. Its diameter is 400 
ft. The stage structure is a mass of ruins. 
There are also on the site a smaller theatre 
and an odeum. 

COLOXIA JULIA. See Sj^ello. 
COMO, Italy. 

The Broletto, or town-liall. situated in 
the great square adjacent to the Cathe- 
dral, is a small building, with two fronts 
on opposite sides, the first story 
entirely open, forming the public 
exchange of the town. Two 
ranges of four obtusely pointed 




Fig. 50.— Como, Bioletto. 



arches springiiig from low octagonal piers 
of niarble with large foliage cajjitals car- 
ry the front and rear walls ; a third 
range divides the interior and gives a 
middle bearing to the floor above. The 
front toward the great square is banded in 
black and white marble. The second 
story, divided from the first by an arched 
corbel-table, has two triple windows with 
mullion-shafts under pointed arches. A 
third central arch gives access to the bal- 
cony called the ringhiera, peculiar to this 
class of buildhigs in Xorth Italy, from 
Avhich the magistrates were accustomed to 
address the people. A small arcaded cor- 
nice formerly finished the composition, 
but a low third story has been added at 
some recent date. A massive square bell- 
tower stands at the angle of the building, 
Avliich Avas completed in 1215. {See Fig. 
50.) 

The Cathedral is a large and richly 
decorated church of mixed character, be- 
gun in 1396 in the Komanesque style, 
Avhich was soon changed to Gothic, and 
largely rebuilt in 1513-21 by Tommaso 
Eodari or Kotario, in the style of the 
Renaissance. It is built entirely of white 
marble. The three divisions of the west 
front are marked by flat pilasters terminat- 
ing in square pinnacles above the roof. 
and bearing on their faces rows of small 
niches, one above another, containing 
statues. In each division is a deep round- 
arched door-way, with a tymj^anum charged 
with sculpture. Above, the windows are 
jjointed, with traceried heads. Over the 
central door- way is a row of canopied niches 
with statues, and a fine rose above, flanked 
by richly decorated niches with statues. 
The central division, crowned by a large 
and high pinnacle of singular desigii, is 
entirely above the nave. The sides of the 
church are in the Cinque-Cento stvle, 
with door-ways and Avindows decorated 
A\4th arabesques and portraits in bas-relief, 
the wall broken by buttresses terminating 
in pinnacles. The central cupola is also 



S4 



COMO 



llenaissance in style, having been built in 
1732, with an octagonal tambour with 
columns at the angles, a round-arched 
window in each face, and an entablature 
and attic from whicli springs an octagonal 
dome crowned by a lantern. The interior 
shows a nave and two .lisles, Gothic in 
character, with a vaulted ceiling restored 
in 1838, Renaissance transept and choir, 
the latter with a circular end, broken by 
Corinthian pilasters with two stories of 
windows between. The circular baptistery 
has been attributed to Bramante. 

S. Abboxdio, an interesting example of 
an early Lombard church of the basilican 
type. It is a five-aisled churcli about 80 
ft. by 10.5 ft. inside, with an elongated 
choir and apse which add some 50 ft. to 
this length. Externally, the church is of 
brick of extremely simple design. The 
front follows the outline of nave and 
aisles, and the wall is bi'okeu by a sqiiare 
buttress opposite each of the four rows of 
columns. A single large plain doorway 
with square opening and round arcii occu- 
pies the central compartment. Over it is 
a plain round-headed window, with two 
simple round-headed windows al)ove. On 
the faces of the buttresses four engaged 
columns remain of a large ]ior('h which 
projected boldly I'rnm the I'runt. a rare 
feature in Italian churclies. All the eaves 
are ornamented with arched corbel-tables. 
The long choir is as liigh as the nave. Its 
wall is divided vertically by slender en- 
gaged columns ending in an arched corbel - 
table. Two tall sc[uare eanipanili. exact- 
ly similar and of simple design, flaidv the 
choir on either side at its junction with 
the east wall of the church. The double 
aisles give the interior an unusual breadth. 
The nave is in six bays, of which the west- 
ernmost has a gallery at mid - height 
which, as well as the space nnder it, is cov- 
ered by a groined vault, the remainder of 
the nave and the aisles being covered by 
wooden roofs. The nave is flanked by 
massive I'ound piers of masonry with exag- 



gerated bases and rude block capitals ; the 
two aisles are separated by slender mono- 
lithic columns with foliated capitals. 
Each line of fliers and columns is joined 
by simple round arches, carrying a clere- 
story with a single narrow window in each 
bay, and is terminated eastward by a 
massive pier forming part of the support 
of the campanili. The four aisles end 
here in square compartments covered 
with groined vaults and with small apses 
in the thickness of the east wall. The 
long choir, opening from the nave by a 
round arch, is divided into two oblong 
bays, each covered by a four-part vault, 
and ends in the semicircular apse, with 
its hemispherical vault divided by ribs 
springing from vertical shafts, and deco- 
rated with frescoes of the xv century. The 
present church dates from 1095, when it 
was consecrated by Pope Urban II. It 
was built in connection with a convent of 
Benedictines founded by the bishop of 
C'omo in 1013, and on the site of an earlier 
basilica of which the foundations and the 
})avement were discovered beneath the 
present church in 18G3. The pavement 
of the old church is about two feet below 
the present floor, and some of its stones 
have inscriptions showing it to date from 
the V century. Up to the ix cent. S. Ab- 
bondio was the Cathedral. 

S. Carpofero, a rude old Lombard 
church standing on the slope of a moun- 
tain south of Como. The exterior is ex- 
tremely simple, the west front half-buried 
in the rocky hillside. The eastern apse is 
polygonal in its external outline up to the 
floor of the choir, where it becomes circu- 
lar, with engaged shafts over each angle 
of the wall below, ending in an arched 
corbel-table, the bays thus formed being 
occupied alternately by a round-arched 
window with angle shafts, and a small cir- 
cular window. A tall square campanile is 
attached to the south wall of the choir. 
The interior has a nave and aisles about 
no ft. lono;. the nave about 30 ft. wide, the 



COMO 



aisles 15 ft., perfectly ijlaiii square piers 
at various distances, and round arches ab- 
solutely plain, of various sizes, supporting 
a clerestory wall. The walls of aisles and 
clerestory are pierced with small, narrow, 
round - arched windows. The transept 
arms open from the nave on either side 
with a single broad and high round arch, 
at about one-third the distance from the 
west front to the choir ; a singular ar- 
rangement, perhaps due to the inaccessi- 
bility of the west end, making the south 
end of the transept the principal and en- 
trance front. Two round arches span the 
nave in continuation of the walls of the 
transejjt. The nave, aisles, and transept 
were all covered with wooden roofs of low 
pitch, but the nave is now barrel-vaulted. 
The choir consists of a single square bay, 
covered by a four - part vault, and a 
round apse with a semi - dome, dating 
from 1040. Beside the choir a small 
groined chapel terminates the north aisle, 
with a small apse in the thickness of the 
east wall. The corresponding space on 
the south side is occupied by the cam- 
panile. The floor of the choir, raised some 
nine feet above the nave, is approached by 
two staircases, between Avhicli a third de- 
scends to a fine crypt beneath the choir, 
the only portion of the church which has 
been adorned. It is divided into three 
vaulted aisles by columns with foliage 
capitals carrying stilted round arches. 
The east end repeats the apse of the choir 
with the addition of three niches, in 
which are small windows. A small spiral 
stair in the angle of the north wall con- 
nects the crypt Avitli the chapel terminat- 
ing the north aisle. The church stands 
on the site of an older one founded by St. 
Felix, which served for a time as the 
cathedral. The present church dates 
mostly from the xi cent., the apse having 
probably been added a century later. 

S. Fedele, a curious Lombard church 
of the XIII cent., much modernized but 
substantially unchanged in plan and con- 



struction. The plan is peculiar, composed 
of a nave about 30 ft. broad in four oblong 
bays of unequal length ; octagonal-ended 
transept-ends ; a choir of a single oblong 
bay, terminating in a polygonal apse with 
a raised floor ; and a somewhat elongated 
octagonal dome at the crossing. The 
aisles are in two low stories, carried around 
the transept-arms to the oblong bay of the 
choir, and separated from the nave and 
transept by two ranges of round arches 
springing from simple nave piers with a 
cruciform plan. The nave has a barrel- 
vault, but the aisles are covered in each 
story with four-part vaulting. Tlie vault- 
ing bays of the transept-aisles are alter- 
nately square and triangular, the square 
bays corresponding to the arches, the tri- 
angular bays to the piers, and the en- 
closing wall of the aisle has twice as many 
sides as the octagonal transept. This is 
the arrangement of Charlemagne's chapel 
at Aix-la-Chapelle and of the Eotonda at 
Brescia. In the upper aisles the same ar- 
rangement of vaulting prevails, but the 
vaults are inclined upward from the outer 
walls to those of the clerestory. The stone 
roof -covering is laid directly on the masonry 
of the vaults, and the nave is the only j)or- 
tion of the church which has a wooden roof. 
The central cuj)olais built on pendentives 
from four great arches at the crossing, and 
against the walls abut the octagonal vaults 
of the transept and the barrel-vaults of 
the nave and choir. The interior design 
of the apse is unique. It is in three 
stories, the first having a semicircular 
niche in each face, with a small window, 
and slender angle-shafts ; the second an 
arcaded gallery, with a single round arch 
in each face ; the tliird a j)lain wall with 
narrow windows, much sj)ayed without. 
A simple moulded cornice finishes this 
wall, and from it springs the polygonal 
vault. The exterior is equally interesting. 
In two stories the angles are masked by 
strong columns. The third story is an 
open gallery with two round arches to 



CONSTAJsTTIXOPLE 



each face, each arch being the end of a 
barrel-vault, of which the other end abuts 
on the interior wall of the gallery. Above 




Fig. 51.— Como, S. Fedele, Apse. 



Tlu' clmrrh liad 
which lias disap- 



is an arcadcd cornice, 
originally an atrium 
peared. The foundation dates from 'Jl-i, 
but it was rebuilt in l"26'-2. Mothes pre- 
sumes the apse to be a portion of the 
original structure. {See Fir/. ■'>!.) 
CONSTAXTIXOPLE (8tamboul. anc. 
Byzantium), Turkey. 
A(jUEDrcT OF V.VLEXs. crossing tlie 
valley between the third and fourth hills ; 
finished in oTS A.n. Tt is al)Out 2.0U0 ft. 
long, and To ft. high, and consists of two 
tiers of round arches, those of the lower 



tier 32 ft. high, those of the uj^per 27 ft. 
The span of the arches is about 30 ft. 
The masonry is densely covered with ivy, 
which adds greatly to the picturesqueness 
of the effect. 

I3ASILICA Reservoik, called by the 
Turks Yeri - Batan - Serai — the Under- 
ground Palace. It was foitnded by Con- 
stantine the Great and restored by Justin- 
ian, and is still in use. The entrance is 
near Sta. Sofia. The dimensions are about 
36U ft. by 19.5 ft., and there are three hun- 
dred and thirty-six columns, about 39 ft. 
high, in twenty-eight rows, supjiorting 
brick vaults. The capitals are in part Cor- 
inthian, in part of other orders, or rough. 

Bt'RXT CoLUiix. See Culumn of Con- 
st an tine. 

The great Ci8Tekx. believed to be the 
famous cistern of Philoxenos, called by 
the Turks Ben-Bir-Direk. or the hall of a 
thousand and one columns, is now used as 
a hall for winding silk. It has, or had, 
three stories of cohtmns in fourteen rows 
of fifteen each, carrying stone vaults. It 
is of special significance in the history of 
architecture if, as is believed, it was built 
by Philoxenos, under Constantine, in the 
IV cent., for it gives then the earliest 
known example of the so-called cubic 
capital, which was a striking characteris- 
tic of Lombard architecture for centuries. 

CoLiMX OF Akcadius, formerly in the 
Forum of Arcadius, now enclosed in pri- 
vate property near the locality called 
Avret-Bazai'. It resembled the Column 
of Trajan at Eome, and the shaft was 
carved with reliefs illustrating the wars of 
Theodosius. It was about 115 ft. high. 
It was overthrown by an eartliquake in 
T40 A.D. The pedestal, about 20 ft. high, 
and a fragment of the shaft, still stand. 
In the pedestal is a sepulchral chamber, 
with a niche and a sculptured ceiling, and 
the beginning of the stairs by which the 
column was ascended. 

CoLi'MN^ OF CoxsTAXTiXE, also called 
Column of Porphyry, Burnt Column, 



CONSTANTINOPLE 



and Djeniberli - Tach, standing on the 
summit of the second hill. According 
to tradition it was brought from Borne by 
Constantine, andthe Palladium was buried 
under it. It consisted originally of nine 
drums, set one into another and carved at 
the joints with wreaths of laurel, so that 
it had the appearance of a monolith, and 
attained a height of about 150 ft. It 
was surmounted by a bronze statue of 
Apollo, the head of which Oonstantine re- 
placed by his own. During the reign of 
Alexis Comnenus, the statue and the 
upper part of the column were thrown 
down by lightning ; it was restored to re- 
ceive a cross and the name of Manuel 
Comnenus. Six drums now remain, and 
rise to the height of nearly 115 ft. 

Column of Marciax, called Kiz-Tach 
by the Turks, near the Mosque of Mah- 
moud Pasha, in private property. It is 
of white marble, about 33 ft. high, with 
a composite capital on which is a block 
with eagles at the four angles, which 
formerly supported the statue of the em- 
peror Marcian. The pedestal of the col- 
umn has wreaths on three sides, and on 
the fourth a dedicatory inscription be- 
tween two winged figures. 

Column op the Serpents, one of the 
most famous relics of antiquity, part of the 
monument erected before the Temple of 
Apollo at Delphi in commemoration of the 
Greek victory over the Persians at Platfea, 
in 479 B.C. It supported a tripod of gold, 
which was taken by the Phocians for their 
war expenses, but the column remained in 
place at Delphi until Constantino brought 
it to Constantinople to place it in the 
spina of the Hippodrome. It consists of 
three intertwined serpents of bronze, upon 
the widely diverging heads of which the 
tripod rested. The heads were broken off 
and stolen by night, about 1700. The 
names of the Greek peoples who fought the 
barbarian are inscribed on the coils of the 
serpents, from the third to tlie thirteenth, 
forming one of the chief epigraphic docu- 



ments of history. Twenty-nine coils re- 
main in the column, which rises to the 
height of 18 ft. The upper jaw of one of 
the heads is in the ^luseum at Constanti- 
nople. 

Column of Theodosius, in the gar- 
dens of the Serai, or Imperial Palace. It 
is in gray granite, about 49 ft. high, and 
has a Corinthian capital. The pedestal 
bears an inscription commemorating the 
overthrow of the Goths. 

The Golden Gate, near the south end 
of the Walls of Theodosius, lies between 
two enormous, massive, square towers of 
white marble, preceded by a court formed 
by an outward inflection of the exterior 
wall. It consists of three openings — a 
great archway in the middle which was 
reserved for the passage of the emperor, 
with a smaller one on each side — and is 
now walled wp, owing to a Turkish proph- 
ecy that the future conqueror of Con- 
stantinople shall pass through it. The 
towers were originally ornamented with 
sculpture. A Byzantine eagle still re- 
mains on that to tlie north. See also 
WaUs. 

Hall of a thousand and one Col- 
umns. See Great Cistern. 

The Hebdomon is an ancient Byzantine 
building, dating probably from the first 
half of the ix cent., and occupying a part 
of the site of a palace built by Constantine, 
of which some authorities have believed it 
to be a portion. The building is of three 
stories, covering the breadth between the 
outer and inner city walls, but rising far 
above them. The lowest story has in the 
interior two rows of three columns each, 
with Byzantine capitals of various design, 
some of them of much elegance, joined by 
arches in two directions, which divide the 
space into twelve square groined bays. 
This story has openings only on one side — 
four round arches in pairs, the pairs sepa- 
rated by a square pier in the middle of the 
wall, and divided each by two slender col- 
umns coupled in the thickness of the wall. 



88 



CONSTANTINOPLE 



Above a low second stoiy, with single 
ronnd-arched windows, is a great undi- 
vided hall ;3;3 ft. l^y 74 ft., and 20 ft. high, 
of which nothing remains but the enclos- 
ing walls. These are faced on all four 
sides with an arcade of round arches en- 
closing windows, arclied and square. The 
walls are of brick, with bands of yellowish 
marble, and varied by geometrical patterns 
of much beauty in the arclies and span- 
drels. Narrow bands of copper follow tlie 
lines of the arches. The columns are of 
wliite marble. The ends of the building 
fiuisli with very flat stepped gables. 

IIippODKOME, occupying the modern 
At-Meidan area, beyond 8ta. Sofia. The 
Serpent-Column, the Obelisk of Theodo- 
sius, and the Colossus Pyramid mark the 
axis of tlie spina in tlie middle of the 
arena, whose ancient surface is now 12 ft. 
underground. A series of enormous vaults, 
resting on huge pillars, constitute tlie sub- 
structions of the terrace built by Septimius 
Severus to increase the area of the arena. 
These vaults were once utilized as a reser- 
voir. The length of the 
Hippodrome M'as about 
1.40()ft.. its breadth, 400 
ft. 'flic ex tcrior was 
formed of superposed 
tiers of hrick arches, 
faced Ijy a Corinthian 
colonnade in marble. 
Between U'.i:) and l-.'d:; 
the last races were held 
in the Hippodrome, in 
presence of the emperor, 
and in the decrepit are- 
na, on the night before 
May 20. U.-):}'. Constan- 
tine Paheologus gath- 
ered his shattered troops 
for the last struggle with 
the Turks. 

]\[0SQ,rE OF AlI.MKI). 
the largest mosque in Constantinople (not 
counting Sta. Solia). a building sonre 240 

ft. square, preceded l)y a forecourt nearly as 



deep, making a rectangle of about 240 ft. by 
420 ft. It is situated in the At-Meidan or 
Hippodrome, and dates from the xvii cen- 
tury. The court has arcades on all four 
sides, each bay covered by a low dome, 
three entrance gates, and in the middle an 
ornamental fountain. There is a tall and 
slender minaret at each corner of the 
mosque, and of the court — six in all. Four 
enormous channelled piers, more tliau 
30 ft. in diameter, carry the central dome, 
on four great pointed arches, against 
which lie four semidomes, making a 
Greek cross ; and in its angles, at the 
corners of the mosque, are four small 
domes. Galleries, carried by ranges of 
columns, cross the ends of the transept, 
both inside and between the great but- 
tresses without. Tlie walls have a marble 
dado, and are decorated with arabesques 
ami inscriptions, obscured by whitewash. 
Tlie Avindows are filled with clear glass. 
'I'lie iiiiJirab. or prayer-niche, faced with 
agate, jasper, and other costly stones, 
covers a precious relic in a piece of the 




Ftg. 52. — Constantinople, Mosque nf Ahmed 

holy black stone from the Kaaba at Mecca. 
The elaborate /y////'A/n\ or ])ulpit, isof stone, 
patterned aftei' that at Mecca. This is 

89 



CONSTANTINOPLE 



the mosque of state of the Sultaus of Cou- 
stantinople, and contains also the Standard 
of the Proj)het, which is never unfurled 
except at critical moments in the history 
of the empire. Near by is the tomb of 
the founder, Ahmed I., who began the 
mosque in 1608. {See Fig. 52.) 

Mosque of Eyub. A xv cent, mosque, 
situated in a suburb at the head of the 
Golden Horn. It is built of marble, 
the exterior very plain, with a single dome 
surrounded by four minarets. The win- 
dows ai'e filled with gilded lattice-work. 
The interior is lined with marble, and con- 
tains the tomb of Eyub, the companion 
and standard-bearer of Mohammed, killed 
during the first Arabic siege of Constanti- 
nople in the Tii cent, and buried outside 
the walls. Mohammed II. (1451-81) to 
whom the position of his grave was re- 
vealed, built the mosque in the xv cen- 
tury. It is held peculiarly sacred by the 
Turks, and is the place of consecration 
of the Sultans. It is closed to Christians. 

Mosque of Mohammed. A xv cent, 
mosque, modelled approximately after the 
church of Sta. Sofia. There is a forecourt, 
and behind the mihrab a garden, con- 
taining the tombs of Mohammed II. and 
his family. The court has cloisters on 
three sides, supported on marble and 
granite columns, and each bay roofed 
with a lead-covered dome. In the cen- . 
tre is the usual fountain. The interior 
decoration is in the style of the other 
Turkish mosques. The mosque, founded 
by Mohammed II., the conqueror of Con- 
stantinople, in 1453, stands on a high ter- 
race upon the highest hill in the city, and 
occupies the site of Justinian's Church of 
the Apostles, which was pttlled down to 
make way for it. It was designed by a 
Greek architect and finished in 1469. In 
1763 an earthquake greafly injured it. 
The repairs were made in the quasi-Italian 
style of the period, in which the original 
aspect of the mosque is quite lost. Con- 
nected with it are eight Turkish colleges. 



Mosque of Osmax, built by Sultan 
Osman III., in 1755, a square covered by 
a large central dome, flanked by two min- 
arets, and supported on four great arches. 
These are filled by screen walls, which are 
pierced by round-headed windows filled 
with tracery. In front is an octagonal 
court, surrounded by an arcade of horse- 
shoe arches carried on liigh, slender pil- 
lars. Cross arches separate the bays, which 
are crowned by domes on circular di'ums 
pierced by arched openings. In the outer 
walls are long, trefoil-headed windows. 
Lighted as it is, the Turks call the mosque 
Nur Osmanli, or the Lantern of Osman. 

Mosque of Suleiman. A xvi cent, 
mosque, built by Sultan Suleiman II. In 
front is a forecourt 150 ft. by 190 ft. in- 
ternally, and at the rear is a garden court 
containing the tombs of the founder and 
members of his family. It is substantial- 
ly like Sta. Sofia in j^lan, though of differ- 
ent proportion, being nearly square, 205 ft. 
by 225 ft. outside. The great dome, stand- 
ing on four piers, is abutted in front and 
rear by half-domes, as in Sta. Sofia, the 
three together covering the nave. The 
side-aisles are subdivided into five bays, 
each covered with a small dome, and are 
separated from the nave by triple arcades 
on columns of porphyry 35 ft. high. These 
carry screens perforated with windows, fill- 
ing the side pier-arches, as in Sta. Sofia, 
and serving as clerestories. Against the 
aisle-wall is a low arcade carrying a gal- 
lery. The central dome is 86 ft. in diam- 
eter internally, and 156 ft. high. Eanges 
of windows at the base of each dome 
and in the walls light the interior. The 
mosque is stuccoed on the outside, and the 
dome covered with lead. The fa9acle is 
adorned with six immense and beautiful 
pillars of Egyptian porphyry, and there 
is a minaret at each corner of the court, 
tall, slender, and crowned by a high coni- 
cal roof. All the arches are pointed, 
but the windows in the lower story 
are mostly square - headed. The arcade 



COXSTAXTINOPLE 



wliicli encloses the courtyard is support- 
ed on columns of Egyptian granite and 
marble. Each bay has a low dome crowned 
by a pinnacle. In the centre is an elabo- 
rate fountain. The tomb of Suleiman in 
the rear court is a domed octagon, -40 ft. 
in diameter, built of colored marbles and 
surrounded by an aisle. The mosque was 
designed by the Sultan's famous architect 
Sinan, and built between the years 155U 
and 1555, of materials mostly taken from 
the lai'ge Christian church of St. Euphe- 
mia at Chalcedon. It is simple in detail, 
but of fine effect ; much smaller tlian its 
prototype, but of loftier proportion, as nat- 
urally follows the use of the pointed arch. 

Obelisk of Theodosius, brought from 
Heliopolis, in Lower Egypt, by tlie Emper- 
or Julian, and set up by Tlieodosius in 
390 A.D., in the centre of the sphia of tlie 
Hijipodrome. It is a monolith of ])iuk 
Syene granite, about Gl ft. high and (J ft. 
square at the base, inscribed with hiero- 
glyphs on its four faces. The four 
angles of tlie base rest on four cubes of 
bronze 1| ft. square, on a pedestal of mar- 
ble carved with ratlior roiigli reliefs rep- 
resenting Theodosius and his court and 
tiie machinery used in tiie erection of the 
obelisk. The total height of the pedestal 
is 15 ft. The apex of the obelisk upheld 
a sphere of copper, which was thrown 
down and broken by an earthquake. The 
inscriptions show this obelisk to be the 
first one quarried under Tliothmes III. 

The Paxtokkatok, or tlie Church of 
Tlie Omniiiotent. now used as a mosque 
under the name of the Kilissi Jami. was 
built in the first lialf of tlie xii cent, by 
Irene, wife of the emperor John Com- 
nenus. It is really an agglomerate of two 
small twin churches set side by side, and 
connected by an additional nave wliich 
separates their adjoining aisles. This 
makes a rectangular building about 150 ft. 
across from north to south, and 80 ft. deep 
from east to Avest, consisting of three 
naves, and the four aisles that Hank and 



separate them, ending in seven eastern 
apses. The twin churches are of a com- 
mon Byzantine plan, each being a Greek 
cross, with wagon-vaulted arms and a cen- 
tral dome, the re-entrant angles filled out 
to a square and covered with small domes. 
Before the southern church is a great nar- 
thex of ten vaulted bays. The apses are 
polygonal without ; those of the three 
naves have seven sides. The eight great 
columns which, according to Gyllius, up 
to the XVII cent, carried the principal 
domes, have been rei^laced by Turkish 
piers. Parts of the handsome old marble 
pavement are still left. 

liESEKVOlR OF TIIE PaTRICIAN MoDES- 

Ti's, built in 369 a.d. It is large, Avith 
sixty columns and good capitals. It is 
now closed, but the interior can be seen 
by a grating near the Boudroum Mosque. 

Reservoir of Akcadius, near the 
Mosque of Selim. It is one of the best 
preserved of the ancient reservoirs of Con- 
stantinople, and is not. like most, entirely 
underground. It rises to a lieight of 
about 17 ft. above the surface, and has 
aljout the same depth below. The exterior 
wall is very thick ; it has two round- 
arched windows and a door which is ap- 
proaclied by a flight of steps. The vaults 
are supported on twenty-eight columns in 
two ranges, with handsome Corinthian 
capitals. This reservoir is now entirely 
dry and is occupied by silk-weavers. 

Reservoir of Theodosius, close be- 
hind the reservoir or Hall of a thousand 
and one Columns. It is 138 ft. long and 
75 ft. wide, and contains thirty-three beau- 
tiful columns. 

St. Iuexe, originally built by Constan- 
tine, and burned with the old Sta. Sofia 
early in Justinian's reign, was rebuilt by 
Justinian, and after being shattered by an 
earthquake, under Leo the Isaurian in the 
first half of the viii cent., was rebuilt, 
probably in the form in which we now see 
it. It is now a Turkish arsenal. Its plan 
is a rectangle about 140 ft. by 90 ft., includ- 



CONSTANTINOPLE 



ing a great nave of two bays. The square 
eastern bay is covered by a main dome on 
a drum, supported by pendentives on four 
piers. The sliorter western bay has a low 
dome, of elliptical plan, without a drum. 
The nave is prolonged eastward in a sanc- 
tuary under a tunnel-vault, ending in an 
apse, round within and semi-octagonal with- 
out. These bays are stayed on each side 
by aisle-bays, with transverse tunnel-vaults 
which run through the walls, and show on 
the outside as great arches filled with screen 



cent., said to have been built by Studios in 
4G3 for a convent of Silent Monks, and per- 
haps the oldest existing Byzantine church, 
is now a mosque. It is a three - aisled 
basilica, about 85 ft. by 125 ft., with an 
open narthex, women's galleries over the 
aisles, and a single eastern apse, round 
within and semi-octagonal without. The 
nave is unusually wide — some 48 ft. — and 
was probably covered, as it now is, by an 
o]Den-timbered roof. It is bordered by two 
ranges of sujierjjosed columns ; the lower 




*'^'«# 



Fig. 53. — Constantinople, St. Irene. 



walls pierced by many windows. The 
great side-arches within are half-filled with 
a range of small arches on square piers, 
which carry a women's gallery over the 
aisles. This gallery on each side com- 
municates with the second story of a nar- 
thex, which crosses the west end of the 
church. The drum of the main dome is 
pierced by twenty windows with buttresses 
between. The walls outside are striped 
horizontally with brick and marble ; the 
inside is severely plain, and relieved only 
by one or two string-courses of marble. 
{See Fig. 53.) 

St. JoHx's, a small church of tlie v 



range, Corinthian, carrying a lintel and 
cornice that sup^iort the gallery floor. 
The upper range is noAV of wood, but the 
original marble columns supporting an 
arcade were seen as late as 1809 by Choi- 
seul Gouffier. Two tiers of windows light 
the church through the aisles. The clere- 
story, if there was one, is displaced by a 
single-pitched roof covering the whole. 
The narthex is an ojien tetrastyle porch, 
with a complete entablature, lavishly de- 
corated with carving in all its members. 
The style is transitional between classical 
and Byzantine, and the workmanship ad- 
mirable. 



92 



COXSTANTINOPLE 



SS. Sergius axd Bacchus, the fore- 
runner of Sta. Sofia, founded under Jus- 
tinian in 527, consists of a central octagon, 
much like that of 8. Vitale in llavenna, 
but set in a square, resting on eight piers 
and arches, and covei'ed by a low dome 
of 55 ft. span. High round niclies open 
from the diagonal faces of the octagon, 
their walls pierced by triple arches in two 
stories, as at S. \'itule. Fhit screen walls 
repeat the same treatment in the cardinal 
arches, except the eastern, which opens 
into the sanctuary, which ends in an apse 
of Byzantine form that protrudes through 
the outer wall. The lower range of col- 
umns bears a complete entablature, which 
encircles the piers also, the upper columns 
carrying arches. The space between the 
octagon and the surrounding square forms 
an aisle, the second story of which, cor- 
responding to the upper range of columns, 
is a women's gallery {f/i/tuerru/n). The 
dome is of singular construction, with 
fluted or scolloped section, so that the 
exterior looks like half a melon. To the 
flutings correspond lunettes at the base, 
every other one of which is pierced by a 
window. T'he front is crossed by a nar- 
thex in two stories, the u])i)('r coininuiii- 
cating with the gyiuvceuiu. The detail 
is early Byzantiiu-, the capitals and ental)- 
latures richly carved, the t'ormer mostly 
with stilt-blocks and of })seudo-Ionic form. 
The church contains an inscription com- 
nu'moratiug its foundation by Justinian 
and Theodora. It was converted into a 
mosque by Mohammed II., and so re- 
mains, being called l)y the Turks the little 
Sta. Sofia. 

Sta. Sokfa (St. Sophia, Turkish Aya 
Sofia), the boast of the Emperor Justinian, 
who built it, and the greatest of all the 
Byzantine churches, perhaps of all Chris- 
tian chu relies, is now the chief mosque of 
(Jonstantinople, and therefore of all Islam. 
It covers an enormous rectangle about 245 
ft. by 225 ft. inside the walls. Within the 
mass of brickwork, latelv stuccoed and 



striped red and white, which covers this 
area the church may be said to be con- 
cealed, for the towering outer walls, more 
than a hundred feet high and overgrown at 
their base by a crowd of parasitic buildings 
hide the structure and disposition of the 
church ; little is seen but the many win- 
dows, and from a distance the group of 
low domes and buttresses that crowns it, 
surrounded by the four later minarets. 
The body of the church is an immense 
oval hall, or nave, 100 ft. wide and 225 ft. 
long, and nearly 185 ft. high in the centre 
to the crown of the great dome. This 
nave consists of a central square, a hun- 
dred feet across, extended east and west by 
semicircles of like diameter, and is farther 
lengthened by the apsidal beina or sanctu- 
ary at the east, and a corresponding recess 
at the west, making the whole length over 
260 ft. The central square is covered by 
the great main dome, which, without a 
drum, rests directly on its pendentives, 
borne by the four corner piers and by the 
connecting arches that span the nave with 
a clear opening of a hundred feet. Two 
half domes of like span cover the semi- 
circular ends of the nave, abutting closely 
against the cross-arches, and rising with 
their crowns to the level of the springing 
of the main dome, which seems to sit upon 
them. The side arches under the great 
dome ai'c filled with arcades in two stories, 
which bear screen M'alls that are them- 
selves pierced in the tympana M'ith a 
scries of openings. The semi-domes rest 
each on two piers that stand on the cir- 
cumference of the semicircle below, as at 
the corners of an octagon. These piers 
are joined by arches which open into rouiul 
apses, so that three apses group about each 
semi-dome, the smaller half-domes with 
which they are covered cutting like lunettes 
into the semi-domes. The apses are lined, 
not with walls, but with arcades like those 
which close the side arches of the great 
dome. But at the west end instead of 
the middle apse is the recess just men- 



03 



CONSTANTINOPLE 



tioned, communicating by three doors with 
the porch wliich is the main entrance of 
the churcli. Tlie church, therefore, is no- 




Fig. 54. -Constantinople, Sla. Sofia. 

wise cruciform, as it has been called, nor 
basilical, nor aisled, but consists of a 
single nave of a peculiar shape that has 
not been repeated. The spaces on each 
side the nave, divided into separate cham- 
bers by the main piers, which extend later- 
ally to the outer walls, are connected into 
a sort of aisle by arches that pierce tlie 
piers, and are cut off by them from the 
nave, communicating with it at intervals 
through the arcades undei' the great 
arches. Over these aisles is the woman's 
gallery, or gynceceum, which, continued 
in the second story of the western porch, 
makes the circuit of the nave on three 
sides, overlooking it through the upper 
arcade under the great arches. The porch, 
in two stories, is a great narthex, running 
across the front and opening into the 
church by nine doors. Outside this is an 
outer narthex of one story, and in front 
of it an open court, probably the original 
atrium, surrounded by low buildings which 
replace or travesty the original arcades. 
The interior effect is perhaps the grandest 



in the world. The great mediteval cathe- 
drals are longer ; the dome of St'. Peter's 
is a third Avider and nearly twice as high ; 
yet the greatest mediae- 
val naves are little more 
than half as Avide as 
Sta. Sofia's and much 
lower, and even the 
nave of St. Peter's is 
much smaller, and it- 
self conceals the dome, 
Avhile the huge single 
order dwarfs it ; but in 
Sta. Sofia no part ob- 
scures or belittles an- 
other, the great dome 
soars out of the others 
with increasing size and 
lieight, the superposed 
arcades add to the lofty 
effect and the eye takes 
in the wliole interior in 
one view. It is of un- 
exampled magnificence. The hundreds of 
columns are monoliths of verd - antique, 
porphyry, and other costly stones ; the 
Avails are clad in varied marbles ; cajiitals, 
spandrels, arch i volts, and cornices are 
covered Avith lavish carving or inlay of 
marble, and all the domes are rich with 
mosaic of gold and colors. A boldly cor- 
belled gallery makes the circuit of the 
nave above each arcade, and marks the di- 
vision into stories.' The decoration of 
marble and mosaic is continiTcd through 
the gyufeceum and both stories of the 
inner narthex. Forty AvindoAvs pierced in 
the base of the principal dome and many 
more in tlie Avails give the church an 
ample light. (See Frontisjjiece.) Tlie 
Turks, on taking possession of it, covered 
all the mosaics throughout Avitli Avhite- 
Avash. When it Avas restored by Possati, 
tliey Avere uncovered, and only the figure 
subjects Avere again concealed. Tlie inih- 
rab, or tabernacle Avith the prayer-niche, 
the Sultan's pavilion, and other Moham- 
medan fittings, have taken the place of the 



94 



CONSTANTINOPLE 



Christian altar and furniture. Sta. Sofia 
is the typical example of Byzantine archi- 
tecture, the greatest instance, next to St. 
Peter's, of a dome on pendentives borne Ijy 
four piers, and the oldest imj^ortant one 
that exists. No Gothic church is more 
purely structural. The main dome, but- 
tressed laterally by the great piers whicli 
spread sidewise to the outer walls, is bal- 
anced east and west by tlie semidomes 
that lean directly against the cross-arches 
on which it stands. The semidomes in 
their turn are propped by the triple apses 
that cluster about them, and these by the 
buttressed vaults of the side chambers ; 
tlie outer walls are needed only to enclose 
the included space. Every dome and 
every vault is its own roof ; and al)ove the 
high walls every part confesses the struct- 
ure within. [tSee Figs. 5 J/., fjo.) 

The original church was built by Con- 
stantine, we are told, in 32G, and was 
a flat-ceiled basilica. This church was 
burned in the sedition called tlie Nika 
(in 53"2), whicli destroyed a considerable 
part of the city and nearly cost 
Justinian his throne; but in 
forty days lie had laid the cornei'- 
stone of tlie new building, which 
he superintended in person, 
plundering the cities round 
about of their materials and bur- 
dening his realm with special im- 
posts. He pressed the woi'k with 
such enthusiasm that in less than 
six years tlie church was conse- 
crated, in the name of tlie Di- 
vine Wisdom, 'Ayt'a So^ta, on the 
2(ith of December. .337. lie ex- 
claimed, "I have surpassed thee, 
Solomon."' and doubtless he 
had — or rather his architects had, 
Anthemios of Tralles and Isi- 
doros of Miletos. Justinian's 
})rime requirement had been 
that it should be im[)()ssii)le to 
burn the churcli. and Sta. Sofia is of 
solid niasourv, williiii and without, from 



top to bottom. In twenty-two years an 
earthquake threw down the dome, which 
was too flat ; it was rebuilt, higher and 
more secure, and Justinian reconsecrated 
the church in 5GG. Though shaken at 
intervals by earthquakes, it lias not suf- 
ferred seriously since that time. It was 
plundered, but escaped destruction, when 
the city was stormed and half burned by 
the crusaders in 1204, and in 1453, at the 
taking of the city by the Turks, when, as 
the story goes, Mohammed II. rode up to 
the altar and gave the signal for massacre 
of the Christians who had taken refuge 
there, he respected the building, and at 
once made it the chief mosque of the city. 
Four minarets were successively built 
about it by Mohammed II., Selim II., and 
Amu rath III. It was elaborately restored 
under Abdul Mejid in 1841 by Eossati, an 
Italian architect, as is noticed above. 

Of the early buildings that clustered 
about the church most are destroyed or 
disguised by alteration. The most im- 
portant that remains is the Baptistery on 



.A-^ 




Fig. 55. — Constantinople, Sta, Sofia. 
Scale of 100 feet. 



the south. It is small, square below and 
octagonal above, and domed. Inside, the 



'Jo 



CONSTxiNTlNOPLE 



2"ilan is au octagon with niches on four 
sides at the corners of the square, and a 
square niche projecting eastward. It has 
been utilized by the Turks for a mauso- 
leum. 

The Sultan's Palace, or Old Seraglio, 
dating from the xv cent., situated upon 
the easternmost hill of Constantinople 
(Stamboul) on a i^oint of land washed by 
the Sea of Marmora, the Bosphorus, and 
the waters of the Golden Horn, is a A^ast 
walled enclosure diyided into three large 
irregular courts adorned with groves and 
gardens and crowded with buildings 
erected at different times, and in no 
architectural order. The surrounding 
wall, which on the water side is a contin- 
uation of the city wall, is reinforced by 
numerous towers now falling to ruin. 
The first of the three divisions is called 
the Court of the Janizaries, and is entered 
through the Bab Humayun or August 
Gate, translated by the French into Sub- 
lime Porte, the name by which the Turk- 
ish Government is now diplomatically 
known. In this court is the church of 
St. Irene {q.v.), founded by Constantine 
and used by the T'urks as an armory. 
The second court, entered through the 
Bab-el-Selam, or Gate of Health, is sur- 
rounded by an arcade of slender marble 
columns and arches, and contains, with 
many other buildings, the Divan, or Hall 
of Justice, and the reception hall. The 
first is a large, vaulted hall, lined with 
gilded marble arabesques. The reception 
hall is supported by six enormous col- 
umns, which, Avith the walls and ceiling, 
are delicately carved, painted, and gilded. 
The third, or imperial court, sacred to the 
royal family, entered from the second by 
the famous Bab Seadet or Gate of Felici- 
ty, contains the Hall of the Throne, a 
small, square building with a rich doorway 
flanked by two fountains and surrounded 
by a marble gallery. The site of the Serag- 
lio is that of the acropolis of ancient By- 
zantium, which under the Greek Empire 



was oceu2")ied as a college for the priests 
of Sta. Sofia. Mohammed II., on taking 
the city in 1453, appropriated the site for 
his j^alace, which was constantly added to 
and beautified by his successors until it 
enclosed a circumference of several miles, 
and could accommodate at one time a 
number of inhabitants variously stated at 
from six to twenty thousand. It was 
abandoned in the present century, and in 
1863 a large part of it was burned. The 
new palace, or Dolma Bagsche, outside the 
city, is a modern building of gi'eat size and 
s]3lendor, but of little architectural charm. 

The Theotokos (Church of the Mother 
of God), as the Greeks call it, now a 
mosque, is believed to be that of a con- 
vent which was built under Leo VI. (886- 
911). It is small, being only about 80 ft. 
long, but of elaborate and picturesque de- 
sign in plan, a Greek cross enclosed in a 
square, with three eastern apses, the west- 
ern front crossed by a narthex that has 
been completely covered by a greater eso- 
nartJiex, or outer porch, built about it on 
three sides at a later time. The central 
dome stands on pendentives on four col- 
umns ; its drum, arcaded on the outside 
and pierced with windows, stands on a 
square base against which abut the gabled 
roofs that cover the vaults of the four arms 
of the cross. The apses are peculiar, the 
middle one being five-sided, with three 
windows separated by clustered shafts for 
angle - piers, and the side ones opening 
with doors in a flat wall. The esonarthex 
is elaborately built, banded in brick and 
marble, with an open arcade in front, 
and three high domes, whose drums are 
not windowed or arcaded like that in the 
centre. 

AVall of Heeaclius, built in 640, 
and extending from the termination of 
the "Walls of Theodosius, at the Tower of 
the Hebdomon, for about two-thirds of a 
mile, to the walls of the Golden Horn. 
The wall is battlemeuted, over 12 ft. 
thick, and strengthened by about twenty 



ae 



ATHENS— CHORAGIC MONUMENT OF LYSICRATES 



CONSTxiN^^T^ 



plan is ail octagon with 
sides at tlie corners ■' " 
square niche proif>"'' 
'-een utilizer" 

-Su- 



COEI 



great round or octagonal towers, and it re- 
mains in excellent condition. 

Walls of Theodosius, extending in a 
general northeasterly direction from the 
Sea of Marmora for three and one -half 
miles toward the Golden Horn, and end- 
ing at the Tower of the Tribunal of the 
Hebdomon, built by the Emperor Valens. 
Tlie inner wall was defended by ninety- 
four great towers, and the outer wall by 
seventy-one turrets, all built of massive 
masonry. There were five gates ; those 
that have left the most important remains 
are the Golden Gate and the Polyandria 
Gate, now called the Adrianople Gate. 
Many of the towers and long stretches of 
tlie curtains of the inner wall remain very 
perfect. These walls present one of the 
most impressive spectacles of the kind. 
CORI (anc. Cora), Latium, Italy. 

Ancient Bui doe, spanning a ravine on 
the road to Norba. It is of a single arch 
of tufa, 69 ft. high, of massive irregular 
masonry, and ranks with the most re- 
markable monuments of its class in Italy. 

T'emple of Hercules, so-called, of the 
time of Sulla, a graceful Roman-T3oric 
building, which despite the discrepancy of 
proportions rec;dls in its feeling Greek 
work, especially such work as the Pom- 
peian decorations. The temple stands in 
the citadel, near the church of S. Pietro ; 
the front portico is complete, except its 
roof, together Avitli the front wall and door 
of the cella. The portico is tetnistyle, with 
two columns intervening on each side be- 
tween tlie angle-column and tlie anta of 
the cella. The columns are slender (the 
height of tlie shafts is seven diameters), 
with low capitals and bases of Ionic type. 
IMie architrave is very low. and the frieze 
has triglyphs at the angles, in the Greek 
manner. The pediment too, is low. The 
framing of the cella door is richly mould- 
ed, and the lintel is surmounted by an 
elaborate cornice. The intercolumniation 
is wide (4 ft. 8 in.). 

Walls, of which some portions are as 



late as the time of Sulla. The oldest parts 
are of enormous unhewn blocks of lime- 
stone ; the next period is represented by 
carefully jointed polygonal work, and this 
is followed by the earliest Roman work 
in excellent ashlar. The good preser- 
vation of the walls, and the reunion in 
them of the masonry of widely separated 
periods render them especially interest- 
ing. 
CORINTH, Greece. 

Archaic Doric Temple at the base of 
the Acrocorinthos, commonly known as 
the Temple of Corinth. Its ancient at- 
tribution is unkno^vn. The existing re- 
mains consist of several columns of the 
west front and the south flauk with sev- 
eral blocks of the architrave. The mate- 
rial is rough limestone, which was origi- 
nally primed with a fine reddish-yellow 
stucco. The floor was covered with a 
stouter stucco, stained red. The temple was 
peripteral, hexastyle, with fifteen columns 
on the flanks, on a stylobate of three steps. 
The cella had pronaos and opisthodomos 
with two columns inantis, and was divided 
into two cult-chambers. The roof of the 
west chamber was jirobably supported by 
four columns ; that of the chief chamber by 
two ranges, probaljly each of four columns. 
IMie shafts of the surviving columns are 
monolithic, without entasis, with but 
little decrease in diameter toward the top, 
and with twenty channels. The capitals 
are heavy, with wide-extending echinus 
and thin abacus. T'he lower diameter of 
the front columns is to their height as 1 to 
4.19 ; of the side columns, as 1 to 4.42. 
The Doric convex curves are present, the 
middle columns of the west front standing 
2 cm. higher than the angle-columns. 
The lowest of the steps of the west stylo- 
bate is hewn from the rock, thus preclud- 
ing the possibility of any settling. The 
chief dimensions of the temple are : length 
on upper step, ITo ft. ; width, about 70 
ft. ; diameter of columns of fronts, 5 
ft. 8 in. ; of flanks, 5 ft. 4 in. ; front in- 



97 



COENETO 



H 



ill. ; side inter- 



angie inter- 



tercolumniation, 13 ft 
columniation, 12 ft. 2 in 
columniations, less by 8§ in. ; height 
of columns, 23 ft. 8 in. Large Konian 
roof-tiles in terra-cotta have been found 
in plenty, showing that the temple was re- 
built by the Eomans after the destruction 
by Mummius, but it dates certainly from 
well back in the vi cent. B.C., and is per- 
haps as early as the vii century. Leake 
and some others have identified this tem- 
ple as that of Athena Chalinitis. 

Temple of Apollo, with a statue in 
bronze, on the right-hand side of the 
street leading from the Agora to the Sicyon 
Gate. Eemains which probably come from 
this temple have been found amid the 
ruins of an old Byzantine church or a late 
Eoman building, lying about 1,500 feet to 
the north of the well-known Temple of 
Corinth. These remains consist of a num- 
ber of Doric column-drums, built into the 
north wall of the ruin, and a fragment of a 
Doric architrave 5 ft. 9 in. high, in Poros 
stone. The remains indicate a temj^le 
contemporaneous with and larger than the 




Fig. 56.— Corneto, S. M. in Castelio. 

Temple of Corinth, and as large as the 
Olympieum at Olympia. 

Vaulted Tomb, discovered in 1881 to 
the east of Old Corinth near the Great 



Gate. The greater part of the monument 
was unfortunately destroyed at the time 
of its discovery by workmen making a 
road. Its chief importance lies in the 
painted decoration of the interior, which 
consists of four zones, occupying the whole 
field. The two middle zones contain hu- 
man figures, the chief scene represented 
being a funeral banquet. In the two other 
zones are portrayed flowers and fruit, with 
birds. The drawing is good, and the 
colors were fresh and bright when the 
painting was uncovered. The original was 
at once copied in fac-simile for the Museum 
at Athens. This tomb is the only one of 
its kind which has as yet been found in 
Greece jjroper, and bears a strong analogy 
to a well-known class of Etruscan tombs, 
and to those of the Crimea or Cimmerian 
Bosphorus. Its date has not yet been de- 
termined, but it is certainly late. 
COENETO, Italy. 

S. Francesco is interesting from be- 
ing one of the few remaining Franciscan 
churches in the early Italian Gothic style 
built before the middle of tlie xiii century. 
The nave has ribbed cross- 
vaults over square comj)art- 
ments, the aisles over oblong 
compartments. The ribs are a 
plain, fiat moulding, as at Sta. 
Maria di Castelio ; the piers are 
grouj^ed. There are virtually 
five aisles, the two outer ones 
being in the form of chapels 
opening out with jDointed arch- 
es. Some of the capitals with 
heads and animals are still 
Lombard. [A. L. F., Jr.] 

S. Maria in Castello is a 
church in Lombard style, dat- 
ing from the xi century. The 
fayade, somewhat later than the 
body of the church, and in- 
scribed with the date 1121, has three round- 
arched doors, with windows of like shape 
above. Its original outline folloAving the 
nave and aisles may still be seen, but it has 



CORTONA 



been built up square over tlie two half ga- 
bles of the aisles. The plan is basilican, but 
with no transept, and has three round east- 
ern apses, decorated with slender engaged 
columns and corbel -tables. The vaulted 
nave has five bays corresponding to ten in 
the aisles, and ten pairs of arches on cruci- 
form piers, with engaged vaulting - shafts 
(the intermediate shafts being neglected 
in the vaulting) surmounted by the clere- 
story windows. Over the central hay was a 
dome on pendentives, which has lately fal- 
len. On the mosaic floor stands a hand- 
some mosaic pulpit bearing the date 1208, 
and the baldacchino, of similar style, is 
dated 1108. {See FUj. 66.) 
CORTO^TA, Italy. 

The Cathedral (Sta. Maria) is a Re- 
naissance churcli of the end of the xv 
cent., whose design has. with some uncer- 
tainty, been ascribed to Antonio da San- 
gallo. Its plan is a rectangle measuring 
about 75 ft. by 160 ft., with its nave sep- 
arated from the aisles by arcades of six 
round arches on each side, springing from 
Corinthian columns witli blocks of entab- 
lature, and a continuous entablature over 
the arches from which springs the plain 
barrel-vault of tlie nave. The aisles are 
divided by transverse arches into square 
groined bays, eacli \\itli an arched altav- 
recess, and lighted by a small round win- 
dow. The nave opens by a triumphal 
arch springing from Corintliian columns 
into a square clioir covered by a low dom- 
ical ceiling aiul flanked by two square 
chapels. The exterior is simple. The 
front has a central doorway flanked by 
detached columns with blocks of entabla- 
ture supporting a round arch. Over the 
doorway is a round window with deeply 
profiled mouldings. A square bell-tower, 
of which the design is attributed to Fran- 
cesco Laparelli, stands at the S. E. corner 
of the choir. 

Madonna del Calcixajo, known also 
as the Madonna della Grazie, was begun 
in 1485 from the desio-ns of Francesco 



di Giorgio, of Siena, as a thank-offer- 
ing for the deliverance of the toAvn from 
the famine of the previous year, and fin- 
ished in 1514. Its plan is a Latin cross 
about 170 ft. long and 110 ft. across the 
transept, divided into a nave, transept, 
and choir, without aisles or chapels, all 
covered by plain barrel - vaults, and the 
crossing by an octagonal dome raised on a 
high drum, with a window in each face 
enclosed by an order of columns and pedi- 
ment. The architecture of the exterior 
and interior is in exact correspondence, 
the lieight being divided by superimposed 
orders of pilasters, with rectangular win- 
dows in the second story like those under 
the dome. The fagade has a single door- 
way flanked by engaged columns carrying 
an entablature surmounted by a semicir- 
cular pediment, and a round Avindow above. 

Sta. Maria Nuota, a Renaissance 
churcli dating from the middle of the xv 
century. Its plan is a square of about 70 
ft., disposed as a Greek cross, with the 
centre covered by a hemispherical dome 
on a drum pierced l)y square windows ; 
the four arms of the cross hy higli l^arrel- 
vaults, and the square bays in tlie angles 
by low domical vaults. From the eastern 
arm opens a square tribune with a similar 
vault, flanked on each side by a rectan- 
gular room. The exterior has three simi- 
lar and gracefully proportioned fa9ades, 
each divided in three l)y flat pilasters, car- 
rying a liglit entablature. The central 
compartments are raised to cover the arms 
of the cross, each being pierced by a round 
clerestory window, crowned with a low 
pediment, and flanked by light scroll but- 
tresses. Below are small rectangular cen- 
tral doors and windows, surmounted by 
pediments. 

COSA. See Ansedonia. 
COTRONA (anc. Crotona), Calabria, Italy. 

Temple of Hera Lacinia (Juno of 
the Laciuian promontory, now Capo della 
Coloniia, at some distance south of Co- 
trona). The temple rose from a great 



99 



Lo<' 



CEEMA ' 



platform of masonry on the extreme point 
of the promontory, so that it still serves, 
with its single surviving column, as a bea- 




deila Croce. 



con for mariners. It remained almost com- 
plete, with forty-eight columns standing, 
down to the beginning of the xvi cent., 
when it was in great joart pulled down for 
rebuilding the episcopal palace of Cotrona. 
It was further damaged by an earthquake 
in 1638, and its crejDidoma has since fur- 
nished much material for the construc- 
tion of the moles of Cotrona. The col- 
umn is of the best time of Doric, the sec- 
ond half of the v cent. B.C.; the shaft has 
sixteen channels, and no entasis. The 
base diameter is 5 ft. lOf in., the height, 
including the capital, 27 ft. 2^ in., or 4.65 
diameters. The echinus is full and the 
abacus thick. The temple was hexastyle, 
Avith fourteen columns on each flank, and 
an interior range of four columns before 
the pronaos. Lenormant's opinion that 
this temple was very old was shown to be 
incorrect by J. T. Clarke's partial ex- 



cavation in 1887. This excavation brought 
to light a cornice-block, a triglyph, part 
of the tympanum cornice with a Doric 
cyma, all of beautiful execution, 
and several fragments of the 
marble pediment - sculptures. 
Many bronzes, terra cottas, and 
some ancient glass were also 
found. This was no doubt the 
most im^jortant Doric temjole of 
the Italian mainland. 
CEEMA, Italy. 

Sta. Maria della Ckoce, a 
curious example of an early Ee- 
naissance church in which the 
traditions of Eomanesque archi- 
tecture still linger. It is a tall 
cylindrical brick building, about 
S5 ft. in diameter, surrounded by 
two stories of flat pilasters with 
entablatures, one of coupled win- 
dows under broad arches, and an 
arcaded upper gallery of round 
cusj^ed arches on slender col- 
umns, mucli in the style of the 
earlier Lombard churches. It 
ends with an arcaded cornice 
under a low-pitched roof. Attached to 
this central building on four sides are 
low square pavilions terminated each by 
a bulbous dome of oriental aspect, with 
four lesser domes at the angles, partially 
concealed by shed - like roofs. 'Ilie in- 
terior is octagonal, four sides being occu- 
pied on the lower story by very flat niches, 
and the other four open to the jjavilions 
above mentioned, through round arches. 
Three of them are used as porches, while 
the fourth, of which the floor is raised, is 
a tribune or choir. In each corner is a 
slender detached shaft running up to a 
high entablature over the great arches of 
the first story. Above this is a second 
arcade, opening into an inner gallery 
which surrounds the rotunda beneath the 
octagonal dome. The dome is not seen 
outside, being concealed by the eaves-gal- 
lery, as in most of the baptisteries of North 



100 



CREMONA 



Italy. The church, built between 1490 
and 1515, by Giovanni Battista Battaglia, 
an architect of Lodi, seems to show the 
influence of Bramante mingled with that 
of Gothic tradition. (See Fig. 57.) 
CREMONA, Italy. 

The Baptistery, an octagonal brick 
building about 80 ft. in outside diameter 
adjoining the cathedral. The entrance 
front, faced with marble, has a projecting 
porch with a round arch carried on col- 
umns resting on lions. Above a high plain 
first story runs an arcaded gallery about 12 
ft. in iieight, with slender columns. The 
building was originally covered by a low 
dome, which became unsafe and was taken 
down. The walls were then carried about 
seven ft. higher, witli round windows in 
each face, and a new dome of greater 
height was built, showing on the exterior 
an octagonal lantern with columns at the 
angles, square 0})enings, and a domical 
roof. Within, tlie walls are in three sto- 
ries, the first showing on each face three 
stilted recessed round arches on marble 
columns. Above those, resting on corbel 
courses, are two arcaded galleries in the 
thickness of the wall, with occasional win- 
dows. Above the upper gallery, at the 
height of about 50 ft., springs the pointed 
octagonal dome, beai'ing the lantern. A 
round apse projects from one side, and 
altars are set on three other sides. A largo 
font occupies the middle of the floor. 
The original baptistery is said to have been 
built as early as i)00, but the present bnilil- 
ing is probably not older than 1167, and 
tradition assigns to it one Theodosio Or- 
landini as its architect. 

The Cathedral, a remarkable church 
of various dates and styles, originally built 
fi'om 1106 to 1190, in which latter year it 
was consecrated. Its design is attributed 
to the architects Ognibone and Ossolaro, 
and its plan, as built by them, consisted of 
a nave and two aisles, with three eastern 
apses. To this plan a century later was 
added an immense transept considerably 



longer than the nave and choir and higher, 
with aisles. The exterior presents many 
interesting and unusual features. The 
great fa9ade, banded in white and red 
marble, has no relation to the interior. It 
is a Romanesque design deformed by taste- 
less additions. For nearly one-half its 
height the wall is unbroken except by the 
central porch and two unimportant door- 
ways. The porch, added in 127-4, is of two 
stages ; first a broad pointed arch spring- 
ing from single columns that rest on lions ; 
above, a light loggia of three pointed 
arches on columns also resting on lions. 
Over the jjorch is a large rose window, all 
of red marble, cutting up through the 
horizontal cornice of the gable, which is 
rather to be called a pediment. On either 




Fig. 58. — Cremona, Cathedial, Fi^nt Poich. 

side of the rose are two arcaded galleries. 
The pediment is truncated and surmounted 
by a Renaissan6e composition of pilasters 



lUl 



CREMONA 



and niches, entablature and pediment. At 
the corners are high round angle-turrets 
with open cupolas and round spires. The 
transept fronts, shams like the west front, 
are divided by flat pilasters into three 
compartments with grouped windows both 
round and pointed. The north transept 
has a projecting porch under three rose- 
windows, and a low gable with arched cor- 
bel-table, decorated mouldings, and three 
octagonal turrets similar to those of the 
west front. The east end had a round 
apse with a gallery piercing the buttresses 
and running round the apse under the 




Fig. 59. — Cremona, Pal. dei Giureconsulti. 

windows. The ornaments of doors, win- 
dows, and cornices, including cusps, dia- 
pers, tracery of rose-windows, etc., are 
all executed in brickwork. The interior 
has been partially modernized but retains 



its principal features substantially un- 
changed, nave piers alternately round and 
clustered, carrying round arches, with tri- 
forium and clerestory above ; nave and 
aisles vaulted in oblong bays, the former 
with sharply pointed arches, a fine crypt 
under the choir, with apsidal end, divided 
into three vaulted aisles of equal width by 
two rows of coupled columns. The walls 
and vaults of the church are decorated 
with frescoes of various ages, the oldest 
believed to date from the middle of the 
XIV century. {See Fig. 58.) 

A little north of the church, but 
connected with it by a modern 
arcade of bad classic design, is a 
square campanile rising to the 
height of 396 ft., called the To- 
razzo, with numerous stories di- 
vided by string-courses, grou2oed 
windows with pointed bearing- 
arches increasing in size and im- 
portance as they ascend, and fin- 
ished with an octagonal belfry in 
two stages with octagonal spire. 
The tower was begun in 1283 to 
commemorate the establishment 
of peace between the cities of 
Cremona, Milan, Piacenza, and 
Brescia. It was only roofed in 
1581. 

Palace or the Juriscon- 
sults, an interesting examiale of 
the civic architecture of North 
Italy in the Gothic period. It 
is a small brick building of tAvo 
high stories, with faces on two 
streets. The first story was orig- 
inally open, as iii the Iroletti, or 
town-halls, with tall pointed 
arches, springing from square 
brick piers. These arches are 
now filled up and the story is 
used for shops and apartments. The sec- 
ond story presents a row of triple windows, 
of admirable design, the openings point- 
ed and divided by slender marble col- 
umns, and enclosed within broad and high 



1U2 



OROTONA 



pointed arches deeply splayed, with good 
Gothic mouldings within a broad band of 
ornament, the whole executed in brick- 
work of admirable character. There is an 
arcaded cornice under a battlemented para- 
pet. The building dates from 1292 and 
was originally built for the Oonfalomeri 
or mayors. {See Fig. 50.) 
OROTONA. See Cotrona. 
CURZOLA, Dalmatia. 

The Cathedral (S. Marco), a Gothic 
church dating probably from the early part 
of the XIV cent, with an attached cam- 
panile of the XV century. It has a nave 
of five bays with side aisles, and three round 
apses on the east. Tlie bays are square in 
tlie aisles, groined without ribs, and divid- 
ed by wide transverse arches. The nave 
has a flat plastered ceiling : the main and 
cross arches are pointed. The columns are 
round monoliths with high Attic bases and 
spreading capitals varying in design and 
execution. The apses open to the church 
by rouiul arches and have semidomcs. 
Above the arcades is a triforium of round 
arches in pairs with coupled columns be- 
tween, over which is a clerestory with sin- 
gle cusped and pointed window's. In the 
xvr cent, an additional aisle Avas added on 
the north side. Over the higli altar is 
a baldacchino of three receding stories 
pierced with tracery and supported on 
four cohunns with renaissance capitals. 
The facade has a Gothic doorway of juuch 
beauty, with twisted jamb shafts, flanked 
by coupled columns supporting heavy con- 
soles which bear conventional lions. The 
gable is pierced by a traceried rose win- 
dow. The campanile is plain to the top, 
where it ends with an arcaded parapet of 
trefoiled arches and a beautiful octagonal 
lantern in two stories supported on clus- 
tered colonnettes. 

The Franciscan Convent is on an 
island to the east of Curzola. The build- 
ings date from the XV century. The 
church, begun in 1-493 and consecrated in 
1533, is very plain but has a graceful west- 



ern door with sculptured tympanum, and a 
rose-window in the gable above. The east 
end is square, the chancel being covered 
by a four-part vault on slender ribs, and 
the nave bj a pointed wagon-vault. The 
cloister, bearing date 1476, is one of the 
best in Dalmatia. Triple pointed arches 
resting on slender round columns are sep- 
arated by piers with attached half col- 
umns. The arches are stilted, and cusped 
into trefoils, -ttath carved spandrels all 
Venetian Gothic in style. 
CYZICUS, Asia Minor. 

Temple of the Emperor Hadrian, 
now a mass of practically unexplored ruins. 
It was begun in 123 A.D., dedicated in 167, 
and was considered one of the most sjAen- 
did edifices of its time. It probably re- 
mained almost perfect until 1063, when it 
was thrown down in part by an earth- 
quake, and it has since suffered greatly 
from the depredations of the Turks, who 
long used it as a quarry. The temifle was 
of white marble, peripteral, hexastyle, with 
fifteen columns on the flanks, of Corin- 
thian order. The cella was relatively 
small, there being neither pi'onaos nor 
opisthodomos, but in jAiice of the former 
four rows, and of the latter two rows of 
interior columns, placed in both cases in 
the axes of the colum;is of the fa9ades. 
The dimensions of the temple are esti- 
mated as follows : Length, 301 ft. ; width, 
112 ft.; cella, 140 ft. by 70 ft.; diameter 
of columns, 7 ft.; height of columns, 70 
ft. — the most lofty of any classical tem- 
ple ; — intereolumniation, 21 ft. It thus 
appears that all the dimensions were ex- 
act multiples of the base-diameter of the 
columns. The pediments were ornament- 
ed with sculptures, which appear to have 
been placed, not in the tymj^ana, but 
on pedestals like steps along the slojies 
above the upper cornice. The interior of 
the cella was surrounded M'ith a range of 
small columns which supported galleries, 
and there was a system of crypts in the 
substructure. The magnificence of the 



103 



DAMASCUS 



marble ceiling and pavement are recorded 
by ancient authors. 

There are important remains of the walls 




Fig. 60. — Damascus, Great Mosque. 

and towers, particularly two fine octagonal 

towers. 

DAMASCUS, Syria. 

The G-REAT Mosque is built, according 
to tradition, on the site of an early Chris- 
tian church, perhaps of a still older tem- 
ple. It occupies a quadrangle about 500 
ft. by 320 ft. — the longer diameter east 
and west. The hall of worship (Ivwan) 
occupies the south side toward Mecca — 
a structure of three long aisles, running 
east and west, and together about 125 



ft. wide. They are divided by rows of 
columns carrying arches, slightly pointed, 
and a wooden roof. The columns which 
support the outer arcade, next 
the court, have been built into 
piers to strengthen them. In the 
middle the liwan is crossed by a 
transept, at the end of which is 
the principal entrance from the 
court, a triple archway, flanked 
by heavy j)iers. At the intersec- 
tion with the middle aisle is a high 
pointed dome on an octagonal drum 
carried by four massive piers. In 
the south wall are four vuhrabs, 
or prayer niches, assigned to the 
different Mohammedan sects that 
divide Damascus, the principal 
one, behind the dome, being that 
of the Hanefltes. Over them is a 
range of round -arched windows 
filled with stained glass. The 
open court to the north is sur- 
rounded by an arcade of round 
arches on slender columns, with 
coupled windows above. Two 
great porches in the east and west 
axis of the quadrangle give en- 
trance to the court, and there are 
three minarets outside the en- 
closure, one at the middle of the 
north front, one each at the S. E. 
and S. W. corners. At the west- 
ern end of the court-yard is a cu- 
rious little octagonal domed build- 
ing, lifted into the air on eight 
marble columns, with finely cut Greco- 
Roman Corinthian capitals, which carry 
an architrave. This structure, called 
Kubbet - el - Khasneh, or Dome of the 
Treasure, is said to contain old books and 
treasures. It has no stairway and is nev- 
er ojoened. In the early days of Islam 
this mosque was renowned for its splendor, 
and there are still traces of its magnificence 
in remnants of mosaic and gilding. Near 
the central dome is an elaborate shrine 
believed to contain the head of John the 



104 



DAPHNE 



Baptist, who is held in reverence by the 
Moslems. Over the western porch still 
stand the remains of a Corinthian portico 
and pediment in Syrio-Eoman style, as old 
as Justinian or older, in which a great 
arcli cuts out the middle of the tympa- 
num, with the whole entablature bent 
over it for an archivolt, as in the palace at 
Spalato. The frame of a doorway of the 
same period is imbedded in one of the 
walls. A cliurch dedicated to the Baptist 
is said to have been built or restored here 
by the Emperor Arcadius at the end of the 
IV century. After the Mohammedan in- 
vasion, wo are told, it M'us for some time 
used conjointly by Christians and Mos- 
lems ; but the Calif Walid I. excluded 
the Christians, and remodelled it into a 
mosqtie in 705. It was partially burned 
at the time of the crusades, and destroyed 
by Timur the Tartar at the beginning of 
the XIV century. It was rebuilt by the 
Arabs, but has never recovered its splen- 
dor, and is now much degraded. Accord- 
ing to late news (1894) the mosque has 
suffered very seriously from a recent fire 
— liow much is not clear. [See Fifj. GO.) 

I'oMAN" Gate, called tlie Bab es-Sharki, 
or East Gate, on the east side of the city, at 
the end of the ancient Eoman colonnaded 
street called the Via Recta, remains of 
which survive underground. Tlie gate 
lias three arches, and presents an impos- 
ing appearance. The north arch is now 
used, the others being walled up. The 
central arch is about 39 ft. high, with a 
span of nearly 20 ft. 

Triumphal Arch, at the entrance of 
the present book-bazar, the structures of 
Avliich mask it in great part. At cacli side 
there is a massive square pier ornamented 
with pilasters. The elegant Corinthian 
capitals of these pilasters rise above the 
roof of the bazar and support the noble 
arch. The frieze and cornice are finely 
carved. The monument is about 80 ft. 
wide and 65 ft. high, and formed the 
western entrance to the enclosure of the 



ancient temple whose site is now occupied 
by the Great Mosque. Between the arch 
and the temple extended a double colon- 
nade about 195 ft. long. 
DAPHNE, near Athens, Greece. 

The Co];irvENT Chukch is one of the 
most remarkable Byzantine churches in 
Greece, distinguished for the mosaics oia 
gold groimd that line the interior, and 
notable for some differences in plan from 
the usual Greek ij^Q. It is small, like all 
the Greek Byzantine churches, making a 
rectangle about 50 ft. by 70 ft. There is 
as usual a central square or nave covered 
by a dome, but here it occupies most of 
the width of the church, so that all three 
apses open from it. The dome is not car- 
ried on four main piers but on longitud- 




Daphne, Convent Church. 



iual walls that enclose .the nave, and on a 
pair of piers between the apses at the east 
end, and a similar pair between arches at 



105 



DELOS 



the west. Double squinches cut off the 
corners of the square and bear a ring- 
cornice on which stands the drum of tlie 
dome, dodecagonal without and liglited 
by twelve windows. The transept-arms 
are reduced to mere lateral vestibules, and 
small vaulted chambers fill out the angles, 
while a great groin-vaulted narthex, near- 
ly as high as tlie nave, crosses the whole 
front. The apses are of the usual Byzan- 
tine form — semi-hexagons without and 
round within. Transept and flanks are 
lighted by triple windows, with mullion- 
shafts and stilted round arches. Against 
the south side is a cloister of low pointed 
arches on round shafts with rude capitals. 
The convent covers the site of a temple of 
Apollo, from which several columns still 
remain on the site. {See Fig. 61.) 
DELOS, Oyclades, Greece. 

Agora, adjoining the so-called Trocli- 
oidal Basin, or Sacred Lake. It was in the 
form of a rectangle surrounded by porti- 
coes with double ranges of marble columns 
— some of them unfinished — open toward 
the interior of the agora, and closed by 
walls at the back. Upon the epistyles 
were cut inscriptions in large characters, 
chiefly Eoman. About the sides of the 
agora were monumental exedrse, some of 
them decorated with sculptures and mo- 
saics, and many statues of Eoman officials 
and private benefactors of Delos. At the 
northern side of the court were a series of 
small quadrangular enclosures apparently 
ornamented with works of art. 

ExEDEA of marble, in the Agora. It is 
in part well preserved, aiid its floor is or- 
namented with a mosaic of good workman- 
ship, representing a vase, a palm, and 
other emblems, and an inscription within 
an elaborate border. The remaining por- 
tion of the mosaic is about 6 ft. by 9 ft. 
The colors are yellow, red, green, and 
brown. Kemains of other exedras exist 
near those of this one. 

GrYMXASiUM, near the eastern port. 
This w^as the chief gymnasium of the 



island, and has left considerable remains. 
In plan it was a quadrangular enclosure 
measuring about 520 ft. round, having 
on the inner side a peristyle enclosing an 
open court. Within the peristyle there 
were several chambers of different sizes 
for the various uses of those exercising, 
together with exedras with white marble 
seats for resting or for spectators. A 
number of monolithic arches of blue mar- 
ble have been found, of about 5 ft. in 
span. These belonged to an arcade, the 
position of which has not been determined. 
The interior walls were coated with stucco 
colored red. The discovery of a number 
of ephebic inscriptions places the identifi- 
cation of the monument beyond question. 

A second Gyma^asium, north of the 
Trochoidal Basin, had columns on at least 
two sides. A few are yet in place. The 
capitals are Doric, of inferior style. 

The Herjiaistai, an association of mer- 
chants and sailors — especially of Romans 
or Italians — had a magnificent establish- 
ment about 312 ft. by 230 ft. situated be- 
tween the Temple of Apollo and the Sacred 
Lake. It comprised an open, trapeze- 
shaped agora or court, about 230 ft. by 
164 ft., surrounded on all sides by Doric 
porticoes, and with one principal entrance 
on the west side. Behind the porticoes 
were buildings divided into rooms opening 
either on the bounding streets or on the 
porticoes. The biiildings on the south side 
appear to liave been of more than one story. 
Marble pilasters of Ionic order correspond- 
ed to the columns of the porticoes and 
supported a massive entablature. In some 
places there were large recesses like rooms 
screened off by Ionic columns forming 
a double portico. The porticoes were 
of marble, and all the architectural ele- 
ments have been found. The Doric 
columns, simply cut in facets below, were 
channelled as usual above. Traces of blue 
and red color survive upon portions of the 
entablature. The rear walls were built of 



granite ashlar covered with stucco and 



106 



DELOS 



painted red. The i^orticoes were further 
oruamented with many marble statues and 
benches and with rich mosaics, and the 
borders of the central court were adorned 
with exedras and with statues. There 
were cellars under the buildings, used as 
storehouses for merchandise and amphoras 
of wine. The association and its establish- 
ment date from about 130 B.C. 

Pkiyate House, of Alexandrine epoch. 
There was a central coiirt surrounded by a 
portico, with a fountain in the middle. 
Twelve rooms have been excavated about 
the court, of which tlie pavement is a 
fine mosaic, in which figure fish, flowers, 
and otlicr ornaments. The atrium was 
suri'ounded by twelve Doric columns in 
white marble. There are plentiful re- 
mains of private houses upon the island, 
but they are still almost entirely unex- 
plored, being under considerable masses 
of earth. The interior walls of some 
whicli liave been summarily examined 
were found to be covered witli stucco, 
painted in brilliant colors, and fragments 
of marble columns have been discovered 
in the courts. 

Stoa, to the westward of the Temple of 
Apollo, near the colossal statue of the god. 
The bases of four Ionic columns are still 
in position, on a stereobate of two steps. 
Some of the capitals lie near by, and other 
architectural fragments, especially a piece 
of the gutter decorated with the anthemion 
aiul with lions' heads, copied from that of 
the temple. The work is rough, and the 
date late. 

Stoa of I'm lip. near the smaller pro- 
pylieum aiul the port. It was composed 
of two porticoes more than 3'25 ft. long, of 
Doric columns, one opening toward the 
sea on the west, the other looking land- 
ward. According to the inscription on 
the architrave, it was dedicated to Apollo 
by Philip V., king of Macedon, son of 
king Demetrius. It was built during the 
Macedonian doniination over the Cyclades, 
between 'iOo and IDfi B.c The columns 



were channelled only in the upper two- 
thirds, the lower third being simply 
planed. The echinus of its capitals, in 
the form of a truncated cone, bears wit- 
ness by its dry outline to the debasement 
of Hellenic architecture. 

Stoa of the Poseidoniastai, in their 
establishment. The plan is still undeter- 
mined. In the middle was a reservoir, 
about 27 ft. by 19 ft. Along its sides were 
rough arcades, and the masonry of the 
whole was covered with cement. About it 
was a Doric portico whose columns rested 
ui^on a stylobate of marble. Their chan- 
nellings are shallow, and the outline of the 
capitals debased. Four fragments of archi- 
traves bearing monumental inscriptions 
with letters over 2 ft. high have been 
found in the neighborhood. They are too 
large to have been connected with the res- 
ervoir jiortico. and belonged probably to a 
system of 2)orticoes enclosing the entire es- 
tablishment similar to those of the Her- 
maistai. 

Tkthagox Stoa, east of the Stoa of 
Philip. It consisted of a Doric portico 
surrounding a quadrangular court. Be- 
neath the portico were entrances to booths 
or shops ; thus in design it was not unlike 
tlie great enclosure of the Ilermaistai. In 
the middle of the court stood a rectangu- 
lar edifice of Ionic order, probably a tem- 
ple. This stoa M'as built in great part by 
Italian residents, in 97 B.C. 

Temexos of the Foreigx or Egyp- 
TiAX Gods. The enclosure, about 500 ft. 
l)v 90 ft., occupied a long and narrow ter- 
race upon the western slope of Mount Cyn- 
thus. The temenos was, in part at least, 
paved with stone, and divided by retaining 
walls into smaller terraces with steps of 
marble. It contained one chief temple — 
the Serapeum — a number of smaller shrines 
dedicated to various divinities, and many 
votive statues, reliefs, and altars. A num- 
ber of the gods whose shrines adorned this 
precinct were worshipped in common, with 
joint rites. Among the divinities so hon- 



DELOS 



orecl we find in the inscriptions discovered 
tlie names of Serapis, Isis, Anubis, Sosis, 
Zeus Ourios (of the fair wind), Aphrodite 
(Astarte), Apollo (Harpocrates). The wor- 
ship of the foreign gods was probably intro- 
duced in Delos, and this temenos founded, 
in the course of the ii century B.C. 

Temple of Apollo. This renowned 
temple was situated jS". AY. of Mount Cyn- 
thus, and near the central or Sacred Har- 
bor. Its plan is very similar to that of 
the so-called Theseum at Athens. Its di- 
mensions are a little smaller. The foun- 
dations of the temple were laid chiefly on 
the surface of the sloping ground, and so 
were higher at the west end than at the 
east. These substructions consisted of a 
single course, about 6 ft. wide, of huge 
blocks of schist beneath the jjeristyle col- 
umns, forming a rectangular wall of the 
same exterior dimensions as the temple it- 
self, and of a solid mass of three courses 
of masonry beneath the cella, of which the 
walls formed the chief weight to be sup- 
ported. The space between the two por- 
tions of the foundations is 4 ft. 3 in. on 
the long sides, and 9 ft. at the ends of the 
temple. The space left vacant between 
the two walls was filled Avith earth or rub- 
ble, and paved at the surface of tlie crepi- 
doma. The temple was Doric, hexastyle, 
peripteral, with thirteen columns on each 
flank, resting on a crepidoma of three steps 
above the stereobate. Its ground plan was 
96 ft. 9 in. by 44 ft. 6 in. ; the cella, 67 ft. ' 
7 in, by 24 ft. 8 in. The cella comprised 
a pronaos, a naos, and an opisthodomos. 
The western stylobate was 8 ft. above 
the ground. Access to it was afforded by 
steps of marble resting on a substruction of 
schistose stone. All the elements necessary 
for a restoration on paper of the exterior 
have been found. The metopes were un- 
sculptured ; but the pediments were prob- 
ably filled with sculptures, though no 
fragments of such sculptures have been 
identified. The cella frieze within the 
peristyle was not decorated, unless per- 



haps by a running honeysuckle ornament, 
or the like. The peristyle columns were 
channelled only at the base of the shaft 
and at the neck of the capital, showing 
that the edifice was never entirely finished. 
Their diameter at the base was 3 ft. 3 in. ; 
at the neck 3 ft. 3| in (?) ; their height, 
including the capital, was 17 ft. Be- 
tween the antae in front and rear stood 
two columns, similar to those of the peri- 
style, but smaller. The intercolumnia- 
tion, from centre to centre, was about 7 
ft. 8 in. The height of the entablature 
was 5 ft. 10^ in. ; of the architrave-blocks 
including the teenia moulding, 2 ft. 6| 
in. The crowning moulding of the cor- 
nice, forming the gutter, was decorated 
with the anthemion or honeysuckle orna- 
ment, and with a lion's head over every 
triglyph. The blocks of masonry were 
secured together by I-clamps of iron, set 
in lead. An inscription tells us that the 
temple underwent repairs between Olym- 
piads 110 and 150 — probably in the course 
of the III century B.C. Scanty traces of 
decoration in color survive. The material 
used was Parian marble throughout, ex- 
cept for the rough foundations. It con- 
tained a colossal statue of Apollo by Tek- 
taios and Angelion, of which some frag- 
ments have, it is believed, been found. 
This temple, like all Greek temples of 
great religious or political importance, was 
also a depot of archives, a treasury, and in 
a measure a museum, owing to the works 
of art consecrated in it. A very rich se- 
ries of inscriptions, extending from the 
VII cent. B.C. to the reign of the Empe- 
ror Titus (79-81 A.D.), has been found. 
They not only give very careful lists of 
the objects preserved in the temple, but 
make important additions to our knoAvl- 
edge of Greek history, civil and religious. 
Primitive Temple of Apollo, upon the 
slope of Mount Cynthus, a little below tlie 
summit. This archaic sanctuary, the re- 
puted birth-place of Apollo and Artemis, 
and the seat of one of the renowned ora- 



108 



DELOS 



cles of antiquity, was partly natural and 
partly artificial. Though rude, it is, in the 
survival of the interior and exterior arrange- 
ments connected with the cult, probably 
the most perfect, surviving Greek temple. 
A natural depression in the rock some 15 
ft. square was closed in front by a wall of 
rough-hewn granite blocks. In this wall 
a door was left with sides inclined inwai'd. 
Upon either side a deep cut was made in 
the rock to receive tlie great stones of the 
ceiling, which inclined against each other 
in the middle, forming a ridged roof 19 ft. 
above the floor. The joints between tlie 
roof-stones were filled to keej) out rain- 
water with a mixture of small stones and 
pure lime — not mortar. Above the roof 
were piled in confusion blocks of granite. 
Thei'e seems some reason to believe that 
the inner end of the temple, behind tlie 
statue, was never roofed over. If so, we 
have here an example of an edifice hypfe- 
thral in the sense which was long undis- 
puted. The ])edestal of the statue was a 
rough natural block — an oiiiphalos revered 
as representative of deity in remote an- 
tiquity. It stood back of the middle of 
the eelhi. In later times, a beautiful 
statue of Apollo in Parian marble was 
placed upon it. Of this the left foot and 
a portion of the plinth still remain upon 
tlie omj)lialos. It is estimated that tlie 
figure was 7 ft. G in. high. The sacred 
spring still fills a cavity (J ft. deep beside 
the omphalos. In front of the temple is 
a terrace about 30 ft. by 40 ft. communi- 
cating toward the south with a second of 
of about equal size, and decorated of old 
with votive inscriptions and sculptures. 
In the midst of it is a circular base of 
wliite marlile wliicli bears still the three 
marks of tlie feet of the tripod of Apollo. 
The position of an altar is also clear. 
Access to the temple from the plain was 
given by a carefully constructed Sacred 
Way up the mountain. 

Temple of Artemis (Diana) or Arte- 
mision, near the Temple of Apollo, upon 



whose cult it was dependent. It contained 
a celebrated statue of the goddess. Ho- 
moUe found north of the larger propylseum 
the remains of an Ionic temple, which was 
probably this Artemision. The founda- 
tions are of very archaic masonry composed 
of large blocks of granite very imj^erfectly 
squared and joined. Near this building 
Homolle found a number of female stat- 
ues — one of them the oldest known Greek 
statue in stone — which as he believes rep- 
resent Artemis. 

Temple of the Bulls, east of the 
Temple of Apollo, 220 ft. by 29 ft. The 
long, narrow building running north and 
south was divided into three parts, indi- 
cated now by massive foundation - walls 
crossing it near the north and south ends. 
Upon the north foundation - wall rests a 
marble sill, still bearing the bases of the 
two famous bull - pillars, consisting each 
on the side toward the middle of a plain 
square pilaster with a capital formed by 
a couple of kneeling bulls carved in the 
round as far as their shoulders, and with 
an Ionic architrave of three fascise resting 
on their necks, while the opposite half of 
eacli pillar, toward the side-walls of the 
temple, was a complete Doric semi-column 
of late form. Against the walls were 
doubtless placed pilasters in the line of the 
pillars. The nortliern chamber was the 
cella jiroper of the temple and contains in- 
dications of an altar. In it were found 
fragments of a frieze in low relief, M'hicli 
probably surrounded the interior. It was 
doubtless separated from the central hall 
by -A. metallic grating. The entire central 
portion of the middle gallery was paved at 
a level about 1 ft. 8 in. below that of the 
pavement of the narrow passageway, even 
with the floor of the cella and of the 
pronaos, which surrounded this depression. 
There is reason to think that each side- 
Avall was pierced with large window-bays, 
divided into three lights, perhaps, by small 
monolithic pilasters with Doric capitals, of 
which specimens were found. The south- 



109 



DELOS 



ern division of the monument was an or- 
dinary Doric pronaos of four columns, pro- 
style, tire side-walls being extended so as to 
form antae of considerable i^rojection on 
either side of the door- way. The trigiyph- 
frieze was doubtless carried completely 
round the building. There was no gutter. 
All the elements necessary for a restoration 
of the roof have been found. Sockets were 
cut in the inner side of the cornice to re- 
ceive the ends of the solid timber frame- 
work which was left open. The main 
tiles were of marble about 6 ft. 6 in. long, 
hollowed out in soffits on the under side, 
which was also decorated in color. The 
antefixffi of both cornice and ridge were 
of elegant design. Homolle believes that 
this remarkable building was the shrine of 
the famous Altar of Horns, said to have 
been made by Apollo himself, and that 
the altar stood in the cella at the northern 
extremity. 

The Portico of the Bulls, forming a 
monumental whole with the Temple of 
the Bulls, was over 300 ft. long, Doric, 
with a double range of columns, and two 
projecting wings with a greater number of 
ranges of columns. Prom the middle of 
every triglyph of the frieze projected a 
bull's head. These triglyphs were for- 
merly believed erroneously to belong to 
the building now termed the Temple of 
the Bulls. This portico was rich in de- 
tail, and architecturally magnificent. 

Temple of Leto (Latona), or the Le- 
toon, near the Temple of Apollo. Ho- 
molle discovered (1877) close to the north 
side of the Temple of Aj)ollo the remains 
of this temple, supjaosed at first to be that 
of Artemis, but now believed to be that 
of Leto. It was Doric, tetrastyle, amphi- 
prostyle ; ground-plan 67 ft. by 37 ft. 7 
in. It had a pronaos, naos, and opistho- 
domos, and was closed on the east and 
open on the west side. The material is 
white marble, the work careful ; the 
cornice like that of the Temple of Apol- 
lo, the metopes polished, and traces of 



painting on the triglyphs. In date it was 
posterior to the Temple of Apollo, and 
probably built in the course of the iii 
century B.C. 

The Temple or Sekapis, or Serapeum, 
in the Temenos of the Poreign Gods, stood 
on a small terrace about 3 ft. above the 
main terrace. It was placed exactly north 
and south, the entrance being at the south 
end, and was of marble, consisting of a 
simple cella and a pronaos Avith two plain 
columns i7i antis. Its dimensions were 
about 23 ft. by 44 ft. It had no stereo- 
bate ; and the walls rested upon a single 
foundation-course of roughly hewn stone. 
There are indications that the columns 
of the pronaos were flanked by marble 
screens, and that a grating of metal was 
fixed between them. These precautions 
bear witness to the treasures offered by the 
pious and preserved within the temple. In 
the middle of the cella was a large marble 
altar, of which the foundations are still in 
place. The roof was covered with marble 
tiles 22 in. long, and 4| in. thick in the 
middle, whence the upper surface sloped 
toward the sides. The lower end of those 
next the gutter was decorated with an an- 
themion. The projecting gutter formed 
a sort of cornice 8 in. deep, decorated 
with lions' heads. It is possible that the 
Serapeum was also dedicated to Isis, and 
termed the Isieum. 

Theatre at the foot of Mount Cynthus. 
It is partly excavated from the hill, but 
the extremities are supported by walls of 
white marble. In plan, it is little more 
than a semicircle. The marble seats have 
all disappeared, but the granite substruc- 
tions remain. 

Wall, on the slope of the theatre hill, 
between the sanctuary of the Cabiri and 
the bed of the Inopus. It was built of 
large rectangular blocks of marble, and 
was carved with inscriptions in honor of 
individuals, both foreigners and natives, 
and with their busts in high relief, in cir- 
cular medallions. There are indications 



110 



DELPHI 



that there were several tiers of sculjjtures 
and inscriptions, one above the other. 
The medallions were tangent in couples. 
The workmanship is rather rough. The 
date of this monument, unique of its kind, 
is probably 101 B.C. 
DELPHI, Phocis, Greece. 

Peribolos or sacred enclosure of Apol- 
lo, of great extent, occupying the most 
elevated part of Delphi, and described as 
having many gates. Within it were the 
great temple, a series of treasuries simi- 
lar to that at Olympia, and many minor 
buildings, besides countless works of art 
and otlier votive offerings. The most 
notable of the many surviving fragments 
is the so-called Helleniho, a massive wall 
over 350 ft. long and of considerable 
heiglit, about parallel with the polygonal 
wall of the temple-terrace and with the 
south side of the temple. The polygonal 
retaining-wall of the temple-terrace has 
been followed for a length of aljout 250 ft. 
but was longer, and stands about 10 ft. 
high at the west end of the explored por- 
tion, and about 8 ft. high at the east end. 
Transverse Avails running north and south 
completed the support of the terrace, 
which rested against the natural slope on 
the north side. The wall is of beautiful 
workmanship, the stones being large, and 
the joints in curved lines exactly made. 
The exposed surface is smoothed, and 
closely covered with inscriptions of all 
kinds. On top of the polygonal wall are 
from one to three Ilellenic courses, each 
l\ ft. high. 

Portico of the Athexiaxs, excavated 
in 1880 by the French School at Athens. 
The portico faced the south, its back 
being apparently applied against the 
Pelasgic retaining-wall of the terrace of 
the Temple of Apollo. It is not yet en- 
tirely excavated at the east end, but ap- 
pears to have been about 100 ft. long, and 
to have had eight columns in front. The 
depth of the portico, measured from the 
edge of the stylobate, was 12 ft. 2 in. : 



the height of columns 10 ft. They were 
Ionic, with sixteen flutes and delicately 
moulded bases, but no capitals have been 
found. The entablature was undoubtedly 
of wood. It is presumed that the portico 
was built about 460 B.C. after the naval 
victory of Athens over ^gina, and that 
later trophies of the victories of Phor- 
mion in 429 were set up in it — perhaps 
affixed to the entablature. 

Temple of Athexa Proxoia (Minerva 
the Provident), or, more probably, Pronaia. 
Before the Temple (of Apollo) in allusion 
to the original foundation of the goddess, 
which was a small chapel within the sa- 
cred peribolos. The temjjle was one of a 
group of four at the eastern entrance of 
the city, and was recognized by Ulrichs in 
1838 in the foundations, on the terrace, 
of a circular temple of Doric order, with 
fragments of columns, architraves, tri- 
glyplis, etc., of fine workmanship. Ulrichs 
held that this temple had a jironaos in 
the form of a portico, but was not sur- 
rounded by columns, its plan being like 
that of the Pantheon at Eome. In the 
pronaos stood a colossal statue of Athena. 
in bronze, given by the people of Mar- 
seilles; and a smaller statue of the god- 
dess was in the cella. 

Tkmple of Pythiax Apollo, built 
after the destruction by fire, in 548 B.C., 
of an earlier temple described as of great 
size and admirable construction. But 
a small part of the foundation of the 
temple remains above ground, and uo ex- 
cavations of much extent have been made. 
The architect Avas Spintharos, of Corinth. 
The order was Doric, and the building 
Avas presumably hexastyle. The portions 
of columns found on the site are in tufa 
(Poros), coated Avitli a fine stucco, and 
have tAventy channels. Upon the archi- 
trave Avere affixed sliields taken at Mara- 
thon and from the Gauls. The metopes 
of the east front represented scenes from 
the Labors of Hercules, Bellerophon, and 
the Chimera, and episodes of the Avars of 



111 



DERAT 



gods and giants. The sculptures of the 
east pediment represented Apollo, with 
Artemis, Leto, and the Muses ; those of 
the west pediment Bacchus surrounded by 
his attendant Thyiades. They were by 
tlie Athenians, Praxias (a pupil of Kala- 
mis) and Androsthenes. Within the cella, 
before the statue of Apollo, was the fa- 
mous omphalos stone — the reputed cen- 
tre of the earth — the sacred hearth on 
which burned the eternal fire, an altar to 
Poseidon, and statues. The walls of the 
cella were decorated with paintings. The 
chamber behind the cella was the adytum 
or sanctuary of the Pythian oracle. It 
contained a gilded statue of Apollo, and 
over the fissure in the ground from which 
the prophetic afflatus emanated was placed 
the lofty tripod upon which the Pythia 
seated herself to receive the divine inspira- 
tion. 

Theatre, within the peribolos of Apol- 
lo. As late as the xv cent, it remained 
in very perfect condition, but it is now 
built over by the houses of the village, and 
in great measure destroyed. Many scat- 
tered fragments of walls, and remains of 
the seats of the auditorium, are, however, 
still visible. The diameter is about 260 ft. 
DERAT (anc. Edrei), Hauran, Syria. 

Kanatir Eiraun (Pharaoh's Arches), 
a great aqueduct said to have been built 
by the Ghassanid king, Jebeleh I. It is 
about sixty miles long and crosses all de- 
pressions by bridges. It feeds a large 
reservoir in Derat, near which is an an- 
cient building, probably a bath. 
DER EL-ASHAIR, Syria. 

Romaic" Temple, Ionic, on a basement 
10 ft. high which rests on a platform of 
masonry. The platform is surrounded by 
a balustrade, and the basement by a 
moulded cornice. The interior is orna- 
mented with pilasters, above which prob- 
ably stood small Ionic columns, several of 
which lie on the ground. 
DER EL-KALA, on Mt. Lebanon, Syria. 

Temple of Jupiter (Baal), Balmar- 



codes (of dancing-festivals ?). The sub- 
structions survive, 105 ft. by 52 ft., built 
of large drafted blocks. Some portions of 
the columns also remain ; these formed a 
prostyle portico of two rows of four col- 
umns before the cella. The columns 
were about 6 ft. in diameter and as im- 
posing as those at Baalbek. Near by j^or- 
tions are seen of the Phoenician peribolos 
or inclosure, built of enormous hewn 
blocks. 
DIABEKIR, Asia Minor. 

Great Mosque, a building of unknown 
age, on a site once occupied by a Chris- 
tian church, and previously by a Pagan 
temple. It has the common form of a 
court-yard surrounded by porticoes and 
small buildings, the fourth being occupied 
by the sanctuary. The porticoes and ar- 
cades are supported by elaborately sculpt- 
ured columns. Here, it is conjectured, 
was the forum of the Roman city. Most 
of the buildings now bear inscriptions cut 
in Cufic letters, the work of the Moham- 
medan conquerors. The sanctuary, or 
mosque proper, is said to be much older 
than the surrounding bnildings, and was 
originally a temple. The front, uncom- 
promisingly plain, is of dark basalt. The 
interior is divided into three long aisles 
running east and west, crossed at right an- 
gles by a high transejjt. The heavy divid- 
ing arcades consist of great round arches, 
above which is a row of smaller ones. 
The ancient altar stood, it is said, on the 
south side of the building. All the for- 
mer decoration is now concealed by white- 
wash. 

DIAlSrO. See Teggiano. 
DIDYMA. See BrancMclce. 
DIMINI, near Volo, Thessaly, Greece. 

Domical Tomb or tholos, of the same 
character as those at Menidi, Mycenge, Or- 
chomenos, Pharis, and the Herseum of Ar- 
golis. In its dimensions (interior height, 
29 ft. 6 in., lower diameter, 27 ft. 11 in., 
height of doorway, 11 ft. 10 in.) and its 
construction of small, roughly broken 



112 



DODONA 



blocks of limestone, it is closely parallel to 
the flrst of those tombs. The apex was 
closed by a circular block 3 ft. 7 in. in 
diameter. The door was approached as 
■usual, by a walled dromon or passage. 
'Within the tomb were found objects of 
gold, glass, bone, bronze, stone, and a few 
fragments of vases, all of Mycena?an char- 
acter. 
DODONA, Epirus, Greece. 

AcKOi'OLis. The massive fortification- 
wall, from 10 ft. to 17 ft. thick, is now 
nowhere over 10 ft. high ; the length of 
tlie quadrilateral circuit is about half a 
mile. Part of the wall is ancient polygo- 
nal, but most of it is irdleiiic of a good 
time. There are towers on throe sides of 
the fortress. The interior is full of Hel- 
lenic ruins which are still unexplored. Tliis 
site was recognized as that of Dodoiui in 
1873. 

The Saxctuauv ok Zias, the scut of 
tlie famous oracle, contained two temples 
of no great size, of wliich some arcliitect- 
ural remains survive. On the founchitions 
of the chief of tiiese temples was built 
a Christian church, now destroyed. A 
number of bronzes, inscribed utensils, and 
small figures of Zeus liave been found lu-re. 
There exist also remains of a square build- 
ing, perhaps a lodging for priests, and 
some portions of the peril)olos wall. Near 
the wall are seen traces of a nund)er of 
votive monuments, including substruc- 
tions, pedestals, and pilasters for offerings 
of various kinds. Near by is the site of a 
temple of Aphrodite, -which was identilit'd 
by tlie objects dug up. 

Theatre, one of the largest and best 
preserved of Creek monuments of this 
class. It is in part excavated from the 
Acropolis hill, in part supported by retain- 
ing-walls of excellent masonry which at- 
tain a height of over 72 ft. The diameter 
of the cavea is 4-'2(! ft., which is greater 
than tliat of Epidaurus. There are arches 
in the substruction of tlu' front Malls. 
Two flights of steps along the front walls 



facilitate access to the cavea, and two 
more are carried up to the upper gallery 
along the curved walls of the back. There 
are eight radial flights of steps below the 
diazoma, which has a double passage, and 
sixteen above it. Forty-nine tiers of seats 
are visible, but more exist beneath the 
present surface. The orchestra and stage 
structure are as vet unexcavated. 
DEAMYSSUS, Epirus, Greece. 

Theatre. The peribolos wall of the 
ancient sanctuary, which is 15 ft. to 20 ft. 
high and flanked with towei's, forms an ir- 
regular quadrangle, partly adapted to the 
requirements of the site of the theatre, 
the middle })art of which is excavated from 
the hill. The ends of the cavea consist of 
great masses of masonry, faced with rect- 
angular stones, fitted without cement. 
The substructions of the scena are still 
to be seen. In plan, the theatre is little 
more than a semicircle ; greater diameter, 
400 ft., orchestra, 80 ft. The seats, sixty- 
five or sixty-six rows, are divided by two 
diazomata or horizontal passages, and there 
is a passage round the top Avith remains of 
a portico. The seating capacity Avas about 
twenty thousand. 
KDESSA (Orfa, anc. IJohas), Syria. 

A\(Ii:n"I' Walls of the city, which was 
in plan an irregular triangle, Avith the 
citadel at the N.E. angle. The Avails are 
contemporaneous Avith those of Antioch, 
Avhich they resemble closely, but are 
much more perfect, and present an im- 
posing aspect, being studded with many 
square toAvers. The castle or citadel is 
about 1300 ft. long and 325 ft. Avide, and 
has fifteen toAvers in its outer Avails ; it 
Avas altered and strengthened by the Cru- 
saders, Avho built the keep. 
EGESTA. See ^Segesta. 
ELATEA, Phocis, Greece. 

Temple of Athexa Kraxaia, Avithiu 
the sanctuary north of the city. It con- 
tained a statue by the sons of Polycles, 
representing the goddess armed for battle ; 
her shield Avas carved in imitation of the 



113 



EL-BARA 



shield of the statue of the Parthenon at 
Athens. The temj^le occupied a raised ter- 
race within the sacred enclosure, on the 
highest part of the rocky eminence, and 
one of its flanks was sujjported by a solid 
retainiug-wall extending above the stereo- 
bate of the temple, so that on this side the 
columns were crowded against the wall. 
The diameter of the columns at the base 
is 2 ft. 6 in. There were six on the 
fronts, and thirteen on the flanks ; and 
the dimensions of the temple were very 
uearlj' the same as those of the Theseum. 
at Athens. The material was Poros stone. 
Capitals of two types were found, one 
presenting the curve of a good period of 
art, the other having a straight profile, 
and the thin abacus of a later date. The 
metopes (without sculj^ture) and tri- 
glj'phs were cut on the same blocks, like 
those of the Propylsea at Athens. Xo 
fragments of pediment sculptures were 
found. The roof-tiles and the antefixes, 
decorated with anthemia, were of terra- 
cotta, and the cornice was crowned with 
a gutter in terra-cotta, bearing lion heads 
and anthemion - mouldings of excellent 
design, and traces of color. The temple 
was oriented north and south. 
EL-BARA, Syria. 

This abandoned town of the x to yii 
cent. A.D., preserves several of its streets 
paved with large blocks of irregular 
shapes, and a number of dwellings and 
other buildings closely resembling those 
of the Haurau (q.v.), and almost perfect 
except for their gabled wooden roofs. 
The groups of houses have a plain wall 
on the street, with one door, square-head- 
ed or arched, leading into an oblong in- 
terior court. On one side or more of the 
court there are arcades or porticoes in two 
stories. The capitals are usually of calyx 
form, with varied ornament. Behind the 
arcades open chambers of moderate size. 
Tlie floors are of flat slabs of stone. The 
masonry of the walls is in large blocks 
without mortar. The doors and windows 



opening on the arcades are often sculpt- 
ured with vine-leaves, acanthus designs, 
vases with peacocks, etc., and Christian 
emblems occur. Among the buildings 
are two churches of the usual earlj^ Sy- 
rian plan : simple basilicas with nave, 
aisles, and a single apse hidden behind 
a straight east wall, the arcades borne on 
columns. 

In the XecrojJolis there are interesting- 
rock -tombs, and also tombs built of 
masonry. Among the latter are three 
which consist of a cubical base support- 
ing a hollow pyramid. One of these has 
around its substructure three tiers of low 
pilasters and two ornate friezes. A door 
opens into the interior of these tombs and 
sarcophagi were ranged around the walls. 
ELEUSIS, Attica, Greece. 

The Peribolos, or sacred enclosure of 
the Great Goddesses (Demeter and Perse- 
phone), enclosing the Se^os or Sanctuary 
of the Mysteries, and a number of shrines 
and temples, was girt with double walls, 
having a considerable space between them, 
and in later times the inner court was 
paved with slabs of Poros. The court was 
ornamented with many statues and other 
votive dedications, and contained inscribed 
slabs in large number. 

Greater Propyl.^a, or entrance gates 
to the outer enclosure of the sacred peribo- 
los. The gates face the IST. E. The mon- 
ument is a close imitation, of Alexandrine 
date, in Pentelic marble, of the Propyla^a of 
the Athenian AcrojDolis. An ascent of six 
steps led to a portico of six Doric col- 
umns, with a double interior range of six 
Ionic columns before five doorways, the 
middle one being the widest, and a Doric 
l^ortico on the S. W. similar to that on the 
X. E. The ground-plan is 70 ft. square. 
The lateral walls terminated in anta? on 
each front. The dimensions of the Ionic 
cohimns (twenty-four flutes) were : lower 
diameter 3 ft. 4 in., upper 2 ft. 9 in., 
height, estimated, 3'2| ft. ; columns of ex- 
terior order (twenty channels), lower di- 



114 



ELEUSIS 



ameter, 5 ft., upper, 4 ft. The coffers of 
the ceiling were decorated with star-like 
figures in the central field, and painted 
mouldings. 

Lesser PiiOPYLiEA, or gates of the inner 
enclosure. This monument, whose ground 
plan was 39 ft. by 49 ft. 7 in., dated from 
the second half of the iv cent. B.C. , and was 
restored by Appius Claudius Pulcher, three 
hundred years later. It consisted of three 
gates, with an approach between parallel 
walls, and with two columns before tlie 
separating piers, something in the manner 
of a temple in antis. The capitals of the 
Roman restored antas are richly carved 
witli griffins, and bore tripods. The ves- 
tibule is raised l)y two steps alcove the level 
of the outer court, and is paved with large 
blocks of marble. The central doorway, 
35 ft. from the front, was 11 ft. 4 in. 
wide. Tlic inclined plane to the door re- 
tains marks of wheels. The pivot-holes of 
the doors and the grooved quadrants for 
their rollers show that tliey must have l)een 
massive and lieavv. and tliis testimony is 
confirmed by that of inscriptions recently 
discovered. 

The Skkos, or saiictuai'v for the per- 
formance of the Eleusiuian Mysteries was 
a rectangular l)uil(ling, in its latest form 
184 ft. by 221 ft. including tlie portico 
44 ft. 3 in. deep on tlie cast front. The 
portico had twelve columns in front and 
one on each flank. Access to the in- 
terior was afforded by six doors ; two on 
the east of the portico, and two each 
on the north and south, l)etween the six 
I'ows of seven columns, running north and 
south of the interior. The whole interior, 
except at the doorways, was surrounded by 
a tier of seven steps, forming seats for the 
initiated during the mysteries. These 
seats, and the floor also at the back of 
the building, were hewn from the rock ; 
in the other portions, as the rock slopes 
downward toward the east, the seats were 
built up, and the earth filling of the floor 
was prol)ably covered with a pavement of 



Poros slabs. The walls were about 4 ft. 
thick, and built of a double range of 
blocks of the local stone, resting on a 
stereobate. The six rows of interior col- 
umns, seven in each, stood on the native 
rock toward the back of the building, 
and were carried on built-up foundations 
toward the front ; they were of Poros 
drums, unfluted, with circular bases of the 
local stone, the bases having a diameter of 
a-l^out 4^ ft., and a height of about one 
f(jot. The columns of the portico were of 
Pentelic marble, and are shown, by the 
channelling existing only at the top and 
the bottom of the surviving drums, never 
to have been finished. From the great 
depth of the portico, and the absence of 
any trace of an interior range of columns, 
it must have had a ceiling of wood. The 
frieze did not bear sculptured ornament, as 
a plain metope has been found. The later 
adjunction of the jiortico, as set forth by 
Vitruvius, is plainly shown by the struct- 
ure and character of tlie foundation, where 
those of the portico are fitted to those of 
the sekos. The existing remains, as now 
studied, permit the distinguishing of six 
constructional periods in the history of 
the sekos, as follows : 1. The most archaic 
building, of which the walls, presuma- 
bly of unl)urned brick, rested on founda- 
tions of polygonal masonry. 2. The build- 
ing which may have been burned by the 
Persian invaders, about one-quarter the 
size of the latest development of the sekos, 
and presenting the same plan and pro- 
portional relations of cella and jwrtico, 
with five interior rows of five columns 
each. 3. The probable provisional restor- 
ation of No. 2, having the same width of 
front, but lengthened at the rear, and 
with only three rows of at least six col- 
umns each. 4. The building of the cella 
in its present plan, by Ictinus, under the 
administration of Pericles, but with only 
five rows of interior columns and wide in- 
tercolumniations. 5. The addition of the 
front portico of fourteen marble columns. 



115 



EMPOLI 



toward tlie end of the iv cent. B.C., by 
Philon, who was also the architect of the 
great arsenal at the Piraeus. 6. A later 
remodelling of the temple, probably, from 
the roughness of the work, under Roman 
auspices, when the sujoports of the inte- 
rior assumed the form of seven rows of 
six columns. According to Vitruvius, the 
sekos, as built by Ictinus, was of Doric or- 
der ; and Plutarch speaks of it as having 
two stories. There is a difference of opin- 
ion as to whether this sekos, or place for 
the celebi*ation of the mysteries, was also 
the temple of Demeter ; but it is probable 
that the temple proper was an independent 
building. Tlie investigation made by tlie 
Society of Dilettanti afforded very in- 
complete and even incorrect results, owing 
to the occupation of the site by many 
houses. Almost all we knoAv of the build- 
ing has been gained since 1882, by the ex- 
cavations of the Archgeological Society of 
Athens. 

There are also remains of a theatre, 
partly excavated in rock and partly formed 
of masonry. Some of the rows of seats are 
still recognizable. 
EMPOLI, Italy. 

Chiesa Collegiata. The collegiate 
church of S. Andrea may almost be called 
a group of churches, so many and large 
are its chapels. It is a rebuilding, dating 
partly from the beginning of the XA'ii cent, 
and partly from the middle of the xviii, 
of the original xi cent, basilica. The 
main church, aboiit G6 ft. by 130 ft., has a 
flat-ceiled nave 42 ft. wide, without aisles, 
bordered by five square chapels on each 
side, behind round arches in the intervals 
of an order of Corinthian pilasters on high 
pedestals. The clerestory is faced Avitli an 
order of Ionic pilasters with a wide seg- 
mental-arched window in each interval, 
and a broad arch spans each transept end, 
springing from the entablature of the first 
order. The small square choir is covered 
by a hemispherical dome, and separated 
from the crossing by an arched vestibule, 



flanked by shallow rectangular chapels. 
Very long vaulted chapels, ending in domes, 
flank both sides of the choir and the north 
end of the transept. A small Gothic cam- 
panile stands adjacent to the south wall 
of the church. Only the lower part of the 
fagade shows the work of the old church, 
dating from 1093, according to its in- 
scriptions. It has a blind arcade of five 
round arches on Corinthianesque half col- 
umns% The door occupies the middle 
arch ; in the others circles, squares, and 
crosses are inlaid in black and white marble 
in Pisan fashion. Above is a corbel-table 
on lions' heads. 

Madonna del Pozzo (of the Well), 
a small xvi cent. Renaissance church, re- 
markable for the picturesque disposition 
of its parts. It consists of a nave with 
plain Avails, covered by a barrel-vault with 
four lunettes in each side enclosing small 
square windoAvs, and opening by a single 
round arch into a lofty choir in the shape 
of a laterally elongated octagon in tAvo 
stages, covered by a domed vault crowned 
by a small lantern. The nave is enclosed 
on three sides by a vaulted arcade Avith 
round arches supported on slender col- 
umns. The octagonal choir rises to near- 
ly tAvice the height of the nave, and each 
face has a single blind arch si^ringing from 
flat angle pilasters. The dome is dis- 
guised under a low octagonal roof. At the 
north side of the choir is a slender square 
campanile in three high stages, ending in 
an open belfry. The church appears to 
have been begun about 1522, but the dome 
and the exterior arcades are a century later, 
Avhile the tower Avas added as late as 1795. 
EPHESUS (Ayasalouk), Asia Minor. 

Basilica, 220 ft. long, near the Mag- 
nesian Gate and the Gymnasium. The 
street-front consisted of a hexastyle Ionic 
portico of Avhite marble ; the architrave 
had panelled soffits, and the frieze Avas 
convex. There were recesses along the 
sides of the building, apparently booths, 
and a curved apse. 



no 



EPHESUS 



Double Ohukch. This is really two 
Byzantine churches, an earlier and a later, 
and practically of the same plan — a nave 
in three bays, ending in an eastern ajDse 
which is round within and masked out- 
side by a straight wall, and flanked by 
thin chapel-like recesses on each side. 
The eastern church is wholly of stone, 
the western one of brick, and the two are 
telescoped together, as it were, so that the 
eastern wall of the brick church is the 
western wall of the stone one ; the first 
being entered at the front and the second 
at the sides. 

Great Gymnasium, an enormous struct- 
ure close to the port. The ruins are of 
great extent ; the central corridor, run- 
ning from north to south, is over 500 ft. 
long. Four colossal granite columns of 
the ephebeum lie as they have fallen ; 
four others may be seen in the Great 
Mosque of Ayasalouk. The remains are 
especially remarkable for the huge vaulted 
substructions of the platform on which 
tlie building rested ; these consist of a 
great number of corridors crossing one an- 
other at right angles, and were rendered 
necessary by the fact that the site was 
originally part of tlic interior harbor. 

(lYMN'AsriM, near the Magnesian Gate, 
on the north side of the city. It is an 
immense rectangular structure, surround- 
ed by a cryptoporticus full of exedra?, 
decorated on the south side by a screen 
with marble figures of Persians nearly 11 
ft. high. Witliin the south portico is an 
open palaestra, 2'Mj ft. by ().5 ft., and within 
that are an rphchctim, or exercising-court, 
8G ft. by 4G ft., with chambers on each side 
of it, and therma^ or baths. On the north 
side is a sphcprisfcriion, or court for ball 
playing. 135 ft. by 30 ft. 

Odeum, on the south slope of Mt. Pion 
or Prion, built probably in the first half 
of the u century. It is semicircular; 
the exterior diameter 153 ft., that of tlie 
orchestra 30 ft. : the width of the stage is 
10 ft. The exterior wall of the cavea is 



built of large blocks of limestone, without 
mortar; the stage - structure is of white 
marble. In "Wood's restoration, the cavea 
has a single precinction ; the lower range 
of seats has fourteen tiers in five cunei, 
the upper range thirteen tiers in ten 
cunei. Back of the upper range there 
was a covered portico, supported by Corin- 
thian columns with shafts of Egyptian 
syenite and capitals of marble. The stage 
wall had five doors, and was adorned with 
Corinthian columns of white marble. 

The Prison of St. Paul, so-called 
on the faith of a very old tradition, is 
a massive tower about 50 ft. square, of 
Hellenic construction, on a hill which 
forms a part of the system of defense 
established by Lysimachos, in 290 B.C. 
The interior is divided into four rooms, 
all the doors having heads in the shape 
of pointed arches formed of horizontal 
courses corbelled out. The upper floors 
of the tower were not vaulted, but were 
formed of wood. 

Prytaxeum (or Curia?), on the east 
side of the Forum, near the Theatre. 
It is a very fine stone building, about 250 
ft. square, with solid piers of masonry, 
well built of large blocks of marble. It is 
probably of the first century a.d. 

The Stadium, north of the Great Thea- 
tre, was built probably in the time of 
Augustus. Its length east and west was 
753"f t. , its breadth hs\ ft. The south side 
rested on the solid rock of the hill, while 
the seats on the north side were raised upon 
vaulted substructions, Avhich were contin- 
ued around the semicircular or east end. 
Along its Avhole length was a double col- 
onnade, connected with the terrace of the 
stadium by stairways about 50 ft. apart. 
Tlie shafts of its columns were of gray 
granite, the other parts of white marble. 
The west end was adorned with an open 
columniated screen in two tiers. The 
seats, of white marble, have been used in 
the construction of a mosque. There were 
facilities for transforming the rounded end 



EPHESUS 



of tlie stadium into an amphitheatre of 
the diameter of about 130 ft. 

EcMAY Temple, S. ^Y. of the Great 
Theatre, near the Agora. It has been in 
great measure despoiled by the Turks, but 
in Chandler's time was a very beautiful 
ruin. He supposed it to have been either 
the temple -erected to the god Julius by 
permission of Augustus, or (more prob- 
ably) that dedicated to Claudius Ceesar on 
his apotheosis. It Avas Corinthian in antis, 
with four columns between the antaj ; 
ground-plan about 130 ft. by 80 ft.; col- 
umns, base-diameter, 4:\ ft., height, 46| ft. 
The shafts, 39 ft. long, were monolithic. 
The entablature was richly sculptured ; 
the frieze was of ogee profile. 

The Temple of Artemis (Diana), or 
Artemision, half a mile outside the gates 
of the old town, was several times rebuilt. 
The most famous building Avas begun in 
the Yi cent. B.C. ; the foundations were 
laid on a layer of charcoal and fleece of 
wool at the suggestion of Theodoras of 
Samos, to overcome the treacherous nature 
of the damp ground. It was finished about 
460 B.C. and Avas burned by Herostratus in 
356 B.C. The ncAV temple Avas probably 
begun soon after, on the designs of Deino- 
crates. Alexander the Great offered to fur- 
nish the money if the Ephesians Avould put 
his name on the temple as the dedicator, 
but the people refused. It was |)lundered 
and burned by the Goths about 262 a.d., 
and was excavated in 1869-74 by Wood, 
Avho found remains under 22 ft. of soil, de- 
posited by overflows of the riA^er Caystros. 
The temple stood on a platform lying 
nearly east and west ; in plan, measured 
on the lowest of its fourteen (?) steps, 
it was 418 ft. by 239 ft. It Avas Ionic, 
octastyle, dipteral, with twenty columns 
on each flank ; the lower diameter of the 
columns A\'as 6 ft., their height 55 ft. 
9 in. The columns of the pronaos and 
opisthodomos had admirably sculptured 
drums, perhaps by Scopas, above their 
bases. The exterior columns had twenty- 



four flutes, the interior tAventy-eight. In- 
tercolumniations of front and rear Avere 28 
ft. 8 in. in tlie centre, graduated to 19 ft. 
4 in. at the ends ; on the flanks it Avas 17 
ft., but 19 ft. 4 in. at the ends. The 
frieze AA'as sculptured Avith mythological 
subjects ; the cyma decorated with a 
honeysuckle ornament, interrupted by 
lion-heads. The cella, about 70 ft. Avide, 
consisted of a pronaos, Avith tAVO col- 
umns in antis, the cella proper, a rear 
chamber, and an opisthodomos. In the 
interior Avas a double range of columns, 
the lower Ionic, the uj^per Corinthian. 
The statue and altar of the goddess, Di- 
ana of the Ephesians, Avere at the east 
end. The material of the temple Avas 
white marble from the quarries of the 
Koressos, five miles distant. The roof 
Avas covered with large Avhite marble tiles. 
The temple Avas surrounded by a portico 
25 ft. Avide, at a distance of 30 ft. from the 
loAvest step, and stood Avithin a large en- 
closure or jJeribolos. A church Avas begun 
later Avithin the Avails of the cella, but Avas 
left unfinished. 

The Theatre on the Avest slope of Mt. 
Pion is mentioned in the Acts of the 
Apostles. The suj^erstructure and sculpt- 
ures are Eoman, but the substructure is 
Greek. In plan it is greater than a semi- 
circle ; the longer axis is 495 ft., but the 
distance across the ends of the semicircle 
is, according to Wood, only 467 ft. ; the di- 
ameter of the orchestra is 110 ft. (Leake 
makes the diameter 660 ft., and that of 
the orchestra, 240 ft.). The stage was 
nearly 22 ft. Avide. In Wood's restoration 
the cavea is divided horizontally by tAvo 
precinctions ; in the loAver range are four- 
teen tiers of seats in eleven cunei, in the 
middle range, tAventy-tAvo rows in eleven 
cunei, and in the uj)per, tAventy-five tiers 
in tAventy-tAVO cunei. Above the seats Avas 
a gallery Avith a covered portico behind it. 
The estimated capacity of the theatre is 
twenty-four thousand five hundred specta- 
tors. The back Avail of the stage AA'as al- 



118 



EPIDAUEUS 



most entirely of white marble, adorned 
with granite columns and a rich entabla- 
ture of white marble in two tiers. 

Tomb of St. Luke, so-called, S. E. of 
the Odenm, excavated by J. T. Wood in 
1864. It is probably of the end of the iii 
or tlie beginning of the iv century. It 
stood in tlie middle of a quadrangle, 153 ft. 
square, paved with marble and surrounded 
by a colonnade. In Wood's restoration the 
tomb is circular, surmounted by a dome, 
and with a peristyle of sixteen Ionic col- 
umns on a high stylobate, supj^orting an 
ornate entablature. Diameter of the jieri- 
style, 50 ft.; of the cella, 34 ft.; height 
about 47 ft. 

Koman TKirMPiiAL Aucir, of a single 
opening with oriuimental imposts, adjoin- 
ing the (Stadium at its west end. It is an 
impressive object in tlie landscape, but it 
is of late date, and is built entirely of 
marble blocks taken fi'om earlier build- 
ings. 
EPID Arrays. Argolis. (ireece. 

The HiKuox. or Sanctuary of Askle])ios 
(rEsculajiius), about five miles west of the 
city, is still called Ilieron. In ancient 
times it was one of tlie most frequented 
places of resort for invalids, the priests of 
the god being skilled in medicine. The 
temple became rich in gifts, and so famous 
that a deputation was sent from Rome 293 
B.C. during a pestilence in that city, to se- 
cure one of its sacred serpents. The site 
of the sanctuary is shut in on two sides bv 
steep hills and on the other two by a wall, 
still traceable in several places. On the 
north side the enclosure was formed by 
contiguous porticoes. The Temple of As- 
klepios stood near the centre of the enclos- 
ure, whicli contained also the so-called 
Tholos of Polycletus, the hospital or edi- 
fice provided to shelter the invalid vota- 
ries of the god, and many other buildings 
aiul temi)les. 

Hosi'lTAL, a long [jorlico hcsidi" the 
temple of Asklcpios. in which the suppli- 
ants of the god spi'ut the night, hoping 



that he would appear to them in their 
sleep and heal them. The building was a 
stoa or jiortico 238 ft. long and 32 ft. 
wide. It was divided into two wings by a 
cross partition in the middle, and a central 
row of Ionic columns extended through 
both wings. The front, toward the temple, 
was open, the roof resting upon an entab- 
lature supported by Ionic columns. In 
the interior were set up slabs, one of which 
survives, upon which were inscribed the 
miraculous cures effected by the god. In 
the S. E. angle of the building there ex- 
ists still a well about 82 ft. deej), with an 
abundant supply of water. 

Odkum, of Eoman construction, excav- 
ated in 18!)1 south of the Propylaea. It 
was Iniilt in part on aiul over an ancient 
Doric peristyle enclosure. The cavea re- 
tains nine tiers of seats, and has but one 
stairway, which divides it in the middle. 
The retaining walls {auaUmmata) of the 
■\vings are parallel to each other. The or- 
chestra is paved with a mosaic in jiebbles, 
and the stage remains raised about 3 ft. 
'I'he old Doric peristyle aj^pears to have 
belonged to a gymnasium of the best Hel- 
lenic time, upon the ruins of which the 
Odeum M'as built. 

1^K()1'YL.i-:a, probably of the old gymna- 
sium over which the Roman Odeum was 
afterward built. In plan it resembles a 
small temple witli two columns in aiifis 
facing the north, the place of the pronaos 
wall being occupied by two columns, also 
ii/ ai/tis. The south end is closed by a 
wall, which was probably added when the 
Odeum (</. r.) was Iniilt, at which time the 
propylfea seem to have been made into a 
temple, perhaps of Hygeia. A large open 
portico of six columns in front and four 
on the flanks forms a vestibule to the 
propylfBa on the north ; a ramp leads up 
to the wide central intercolumniation. 

Stadium, formed by an earthen embank- 
ini'ut. It is very dilapidated, but there 
are indications of twenty-one rows of seats 
resting directlv on the embankment. The 



119 



EPIDAUEUS 



width is about 200 ft., width of arena, 78 
ft. ; traceable length 300 ft. to 400 ft. be- 
sides the semicircular termination. 

The Temple of Artemis (Diana) with- 
in the peribolos was Doric, on a stylobate 
of three steps, prostyle, hexastyle, with a 
column on each side between the angle- 
column and the anta, 44 ft. 3| in. by 81 
ft. 6 in. It was built of Poros stone, ex- 
cept the marble pavement, and the cornice 
and roof-tiles of marble. There was a 
range of columns round the interior of 
the cella. The cornice was carved with 
dog-heads in place of the usual lion-heads. 

The Temple of Asklepios (^Escula- 
pius) contained a chryselephantine statue 
of the god, half the size of the colossal 
statue of Olympian Zeus at Athens. The 
remains of this temple have been identified 
and explored carefully by the Archa?olog- 
ical Society of Athens. It was a Doric 
peripteros of six columns by eleven, 81 ft. 
long, and 43 ft. Avide. Many fragments of 
sciilpture from the pediments have been 
found, all of excellent workmanship. In 
the eastern pediment was represented a 
combat of Centaurs and Lapiths ; in the 
western, a scene of uncertain subject, in 
which took part Amazons both mounted 
and on foot, male figures, and Nereids rid- 
ing on hippocamps. 

Theatre, just without the sacred peri- 
bolos of Asklepios. Pausanias tells us that 
it was designed by the great Polycletus, 
who flourished in the v cent. B.C.. and 
that it was well worth seeing both for its 
size and for its beauty of arrangement and 
ornament. The cavea is excavated from 
the slope of a foothill of Mt. Ky^^ortion, 
and faces west of north. It is in many re- 
spects the most perfect surviving example 
of a Hellenic theatre. The arc of the 
cavea is greater than a semicircle. Its 
diameter is about 415 ft., and its axis, 
from the centre of the circle of the orches- 
tra to the exterior wall above the cavea, 
about 205 ft. It is divided into two zones 
by a diazoma or precinction ; and presents 



an exceptional arrangement, in that the 
diazoma consists of two passages, one at a 
higher level than the other, the upper one 
scarcely 2 ft. broad. The lower zone of 
the cavea is divided into twelve Tcerkides 
or wedge-shajjed divisions by thirteen hli- 
makes or radial flights of steps. These 
klimakes are continued through the up- 
per zone to the terrace 7 ft. \ in. broad 
above the theatre. The upper zone is 
further subdivided by twelve intermediate 
klimakes into twenty-four kerkides. Ac- 
cess to the cavea was afforded, besides that 
from below through the orchestra, by 
doors in the wall enclosing the upper ter- 
race and by stairways along the support- 
ing-walls (ancdemmata) of the wings, lead- 
ing to the diazoma. Xo remains of a 
portico above the cavea, as indicated by 
Yitruvius. exist either in this theatre or 
in any other of purely Greek arrange- 
ment. The upper zone contains twenty 
tiers of ordinary seats, the lower thirty-two. 
There are, moreover, three tiers of thi'ones 
or seats of honor — one tier on either side 
of the broader passage of the diazoma, and 
the third immediately encompassing the 
orchestra. The thrones differ from the 
ordinary seats in that they have backs, 
and are carved with mouldings. Thrones 
and seats are constructed of the white 
limestone of the neighborhood, the blocks 
being fastened together by iron clamps set 
in lead. The supporting - walls of the 
wings, and the surviving substructions of 
the stage, are built of tufa. The orches- 
tra is about 85 ft. in diameter. It con- 
sists of two parts — a passage paved with 
stone before the base of the lower row of 
thrones, and the orchestra proper, which 
is a circle with a radius of 40 ft., extend- 
ing toward the stage beyond the plan of 
the auditorium. The floor of the passage 
is 8 in. lower than that of the circle, and 
discharges through drains the rain-water 
falling in the cavea. The circle is curbed 
with stone ; its surface is not paved, but 
is formed of a carefully laid bed of san'd 



120 



EEETEIA 



and cislies (konis — lience tlie ancient name 
honistra). At the centre is embedded 
a cylindrical stone, pierced with a deep, 
round hole, in which was fixed the iliymele, 
or altar of Dionysos, around which the cho- 
rus moved. The stage-structure was built 
in Roman times. The liyposkenion (pro- 
scenium) or wall forming the front of tlie 
stage toward the orchestra was built of 
white limestone, and ornamented with 
eighteen Ionic semi-columns of Attic de- 
sign, and an Ionic entablature. The 
stage buildings and the approaches to the 
theatre were adorned with statues, many 
fragments of which have been found. In 
the passages (parodoi) at either extrem- 
ity of the stage were doul)le gateways, giv- 
ing access to the orchestra and to the 
stage - buildings, and at the sanu^ time 
forming an architectural connection l)e- 
tween the stage and the auditorium. The 
excavations of tlie Athenian Arclueological 
Society since ISSl liavc shown the incor- 
rectness of the accounts of this theatre 
given previi)usly by Donaldson. Blouet, 
Wieseler, Canina. and others. 

Tholos. near the temple of Asklepios. 
and the ujipcr end of tlie stadium. It 
was a eircuhir building of white marlile. 
designed by I'olycletus tiie younger. 'I'he 
building resembled in plan such circular 
tenqiles as the Philiiiiieum at Olyni- 
pia ; it was prolialily luiilt as a nionu- 
mental shrine for the sacred fountain of 
Asklepios. Tlie circular cella was sur- 
rounded by a range of Doric coin inns, 
and had an interior range M'hich is of an 
early and interesting form of Corinthian. 
The iiavement of the cella was supported 
upon elaborate foundations, of which three 
walls forming concentric circles consti- 
tuted the main feature. The diameter of 
the tholos M'as 71 ft. All the remains of 
this building, part icuhirly the fragments 
of the scul[)tured frie/.e. in retineinent ol' 
design and of teclinicid execution can he 
conipnred with the reninins of the I'lrei'h- 
tlieum al Alliens. 



ERETEIA, Euba3a, Greece. 

Theatre. The cavea is supported by 
an artificial embankment, and has been 
only in part excavated, disclosing some of 
the seats and stairways of Poros stone in 
place. In plan it is a little over a semi- 
circle. The diameter, taken at the high- 
est part of the embankment, is 265 ft. 
in., at the lowest tier of seats, 81 ft. 7 in. 
There are in the cavea eleven cuuei or 
wedge-shaped divisions, between twelve 
flights of steps. There is evidence that 
there was a diazoina, or horizontal pas- 
sage of communication. In front of the 
lowest seat was a drain lined with stone, 
the lining of the inner side forming the 
curb of the orchestra throughout the half- 
circle, the diameter of the orchestra, 
measured across the curb, being G6 ft. G 
in. ; its surface was formed of beaten earth, 
or earth and cinders. In later times the 
cavea drain appears to have been covered 
over to form a platform for thrones of 
honor. The most remarkable feature of 
the orchestra is an underground passage, 
(1 ft. high and 3 ft. wide, extending from 
its centre to a point behind the pro- 
scenium wall of the stage, formed of two 
courses of large blocks, the lower course 
upright, and the blocks of the upper 
course inclined so as to meet and roof in 
the passage. This passage evidently sup- 
plied tlie means for the actors to- pass un- 
seen from the stage - structure to the 
middle of the orchestra and there to ap- 
pear amid the chorus, as in the case of 
a]iparitions from the lower world. Since 
this discovery at Eretria, similar disposi- 
tions have been recognized by the Ameri- 
can School in the theatre of Sicyon, and 
by the (ierniaii Institute in those of Mag- 
nesia and Tralles. Tlie remains of the 
stage-structure are interesting, and show 
modifications of at least three epochs. 
First, there is the structure of the iv 
cent. n.c. a back wall with three doors, 
and on the Hanks projecting wings, each 
with one door communicating with a series 



lai 



EEYX 



of chambers beliind tliem. Second, at a 
considerably later time, a new back wall 
was built, also with projecting side wings, 
and with a hall behind divided by a longi- 
tudinal range of columns. At the same 
time, the level of the orchestra seems to 
have been lowered, and to give access from 
behind to the orchestra an underground 
passage about 10 ft. high and 6| ft. wide, 
roofed with a true vault, was carried from 
outside the hall to the front of the wall. 
The passage is contemporaneous with the 
wall, with which its masonry is bonded. 
At the orchestra end the passage was 
closed by a door, and stejDS lead down 
from it to the level of the orchestra. 
Third, a decorative front or proscenium, 
as at Sicyon, Epidaurus, etc., was erected 
between the two projecting wings. This, 
which is about 75 ft. long, was ornamented 
with twelve Doric semi-columns and two 
ant«, the iutercolumniations being closed 
by slabs. The total height of the pros- 
cenium is estimated at about 11 ft. There 
was a double door in the middle, opening 
on the orchestra. 

Walls. The entire circuit, including 
the acropolis, is about two miles. 1'lie 
ramparts of the lower town are most com- 
plete on the east side ; they consist of a 
foundation 8^ ft. thick, faced on each 
side with coursed masonry, and filled in 
with rammed earth. The upper surface 
of the foundation is horizontal, and the 
superstructure was of unburned brick, as 
at Mantineia. The line of the wall forms 
a series of obtuse angles, long straight 
stretches being avoided, and was strength- 
ened by massive square towers at inter- 
vals of about 180 ft. At the S.E. two 
circular towers, about 23 ft. in diameter, 
were built tangent to the wall. The ex- 
terior wall of the acropolis is a little less 
than 7 ft. thick, the filling almost entirely 
of small stones instead of rammed earth, 
as in the lower tower, and the wall was of 
stone to its full height instead of having 
a superstructure of unburned brick. It 



was also strengthened with square towers, 
and notably by four large and massive 
gate-towers of fine masonry with a sharp- 
cut edge at the tower angles. These 
towers are additions, built either against 
or across the wall. One tower still rises to 
a height of nearly 16 ft. 
ERYX. See Monte San GiiiUano. 
ESKI AD ALIA. See Side. 
ESKI-HISSAR. See Stratonima. 
EUROMUS. See TahMl. 
EYUK, Cappadoda, Asia Minor. 

HiTTiTE Palace, like that of Bogliaz 
Keui, and closely analogous to those of 
Nineveh. Its artificial terrace measures 
about 820 ft. to a side, and still rises to 
a height of about 40 ft. Its angles are 
oriented with the cardinal points. Its 
chief doorway, 11 ft. 2 in. wide, has on 
either side a rude sphinx sculptured in 
full face and perhaps somewhat Egyptian 
in character, replacing the Assyrian hu- 
man-headed bulls. Tlie walls of the vesti- 
bule are adorned with reliefs of similar 
character to those of lasili Kaia at Bogliaz 
Keui. Among them is noteworthy a seat- 
ed female figure Avith long robe, iipturned 
shoes, hair in ringlets on her shoulders, 
elaborate necklace and bracelets, and hold- 
ing in one hand a cup, in the other, ap- 
parently, a branch of flowers. 
EZRA (Zora), Hauran, Syria. 

The Cathedral is almost the only one 
of the ancient churches of central Syria 
that is still used as a Christian church, 
retaining its old form. It is in plan a 
square of about 60 ft., the corners cut off 
to make an octagon and occupied by semi- 
circular niches. Inside this an octagonal 
nave is built, leaving an aisle between. 
The inner octagon consists of eight piers, 
carrying arches that support a windowed 
octagonal drum, which bears a high, 
pointed dome of circular plan, united to 
the drum by successive courses of stones 
corbelled out over the angles. The east- 
ern side opens into a choir of one rectan- 
gular bay, and an apse, round within and 



182 



'PJESVL2E 



Jiexagonal without. About the wall of 
the apse are built seats for the clergy. 
In three other faces are high arched open- 
ings, divided by transoms for square- 
lieaded doors, the western of which is 
flanked by two lesser doors of like form. 
The masonry is all very jilain, of squared 
stone, except the dome, which is of rub- 
ble. Over the main door are sculptured 
Christian emblems, and an inscription 
that gives the date 51.5 A.n. 
F/EaUL^'E. See Fiemle. 
FALERII. See Sfa. Maria dc Fallrrii. 



in the nave. At the bottom are three fine 
doorways, covered with traceried cano- 
pies. The apsi'dal end of the nave finishes 
ill a rich crown of gables and pinnacles, 
and heavy flying buttresses spring over 
the aisles. Apparently the church was 
not roofed, and the vaulting, cemented on 
the outside, was the only covering, as in 
other churches of Cyprus. The English 
liave lately undertaken to restore the 
church. [See Fig. 62.) 

St. Sophia is a ruined church of some 
size, about 80 ft. by 150 ft., considerably 




Fig. 62. — Famagusta, Cathedral. 



FAMAGUSTA (Famagosta), Cyprus. 

The Cathedral of St. Nicholas, now a 
mosque, was built under the Lusigiian 
kings of Cyprus, and probably near the be- 
ginning of the XIV century. It is a large, 
three aisled" Gothic church, nearly 200 ft. 
long and 100 ft. wide, without transept, 
and ending in three eastern apses. The 
vaulted nave and aisles are in seven bays, 
and three chapels which open out of the 
aisles have eastern apses. Tlie handsome 
front, now somewhat dila})idatcd, has two 
great towers over tlie ends of the aisles, 
and betwoiMi thciii a large traceried window 



older than the catliedral, being transition- 
al, and having its arched openings partly 
pointed and partly round. It has nave and 
aisles in five bays, and, as is usual here, 
three apses, which are round. Against its 
south side is an older and smaller church, 
more oriental in style, of two aisles each in 
four bays, alternately domed and vaulted. 
Tlie main arches are pointed, the piers 
square and plain, the two apses semicircu- 
lar Avitliin, but hardly projecting through 
the east wall. 

FANO (anc. Fanum Fortunje), Italy. 
TiurMiMTAL Arch, erected in honor of 



Vi-i 



FEEENTINO 



Augustus, probably during liis reign. It 
spans the Flaminian Way, and still forms 
one of the gates of the city under the name 
of Porta Maggiore. The ground-plan 
measures 58 ft. by 16 ft.; the height to the 
top of tlie entablature is 38 ft. There are 
three archways ; the middle one is 19^ ft. 
wide and 26^ ft. high, the side ones 
about 6 ft. wide and 14 ft. high. Con- 
stantine built above the entablature an 
attic of seven arches with eight Corin- 
thian fluted columns between, parts of 
only two of which are standing. There 
are inscriptions on both entablature and 
attic. The material is ashlar of white 
marble. 

EERENTIKO (the Latian Ferentinum), 
Italy. 
Sta. Maria Maggiore is a cruciform 
church, built after a Cistercian model dur- 
ing the first half of the xiii cent. . and re- 
stored before its close. The length of the 
church is 127 ft. ; its apse is square, and it 
originally had four square side-chapels. 
The style is early Cistercian Grothic, more 
advanced than Casamari. Its inner arches 
are all pointed, and its nave and aisles are 




Fig. 63. — Ferrara, Castello Vecchio. 

covered with ribbed cross-vaults that have 
been remodelled. The piers are slenderer 
than at Casamari, and the pointed arches 



wider. The uninterrujited rise of the 
vaulting shafts, except for the banding- 
rings, is an improvement on earlier Cis- 
tercian work ; the foliage of the capitals 
is pure Gothic and strongly French. The 
nave is narrow and the transverse arches 
low and pointed, giving a domical char- 
acter to the vaulting. There are three 
liays to the nave, one to the transept and 
one to the apse. The four piers at the 
intersection are finely grouped. Modern 
stucco-work has partially concealed the 
original details. The windows in the apse 
are advanced in style, while the fagade is 
transitional. A plain octagonal domical 
tower covers the intersection. [A. L. F., 
Jr.] 

FERENTO (the Etrurian Ferentinum). 
Italy. 
Ancient Theatre, restored in imperial 
times. It stands in a plain on the brink 
of a precipice, overhanging a wooded ra- 
vine ; the seats of its cavea were supported 
by a massive arcaded wall, which is still in 
great part standing. The plan is semicir- 
cular ; the greater diameter is exactly 200 
ft. ; the depth of the stage is 33 ft. ' The 
cavea is very ruinous ; no seats 
remain and part of the rear wall 
is gone. This wall, probably Ro- 
man, is of large uniform blocks 
of gray tufa, fitted without ce- 
ment. The scena is held to be 
the best preserved of any theatre 
in Italy. It is built of large 
lilocks of stone to the heis:ht of 
ten courses, upon wliich rests a 
mass of Roman brick-work. The 
stage wall has seven portals closed 
above with flat stone arches, all 
of admirable and massive mason- 
ry laid without cement. This 
wall, whose length is 136 ft., may 
be of Etruscan origin. The thea- 
tre, with its massive arches, forms 
in its abandonment a highly imposing ruin. 
FERRARA, Italy. 

Castello Vecchio, the Old Castle, 



124 



FEERAEA 

was built in 1385 as an addition to an terminating in arcaded pinnacles, divide 
older palace whicli has disappeared. It it into three nearly equal parts, each fin- 
was tlie stronghold of the lords of Fer- isliing at the same height in a low gable 




Fi ■ '4 r, vrara, Cathedral. 



rara until their downfall. It is a s(juare 
mass of building with a buttering base, 
rising out of a surroumling moat, and 
approached by a drawbridge. The walls 
arc crowned with bold niachicolated cor- 
nices, and strong square angle towers rise 
high above the castle roofs. The interior 
contains a multitude of apartments, of 
which the most inrportant were decorated 
with pictures by the best painters of Vcr- 
rara, which have now disappeared. {Src 
Fif/. (!■].) 

The Catiiedkai., originally a late Eo- 
manesque church of the early part of the 
xir cent., with nave, aisles, double tran- 
sept and choir, but undergoing various 
modiHeations and additions in the Xlli 
and XIV i'cnts..and in the x\i i a complete 
internal rebuilding in the Renaissance 
style. The facade is striking, but is only 
a monumental screen, with no relation to 
the interior. Two square projecting piers. 



with a pointed stepped arcade. The 
lower story of Lombard work is plain and 
bare but for three round-arched doorways. 
The central division is occupied by an 
imposing porch in two stages, the ai-ch 
below springing from columns resting on 
the backs of figures sitting on lions, the 
doorway deeply recessed with a scul^itured 
tympanum. Al)ove is an open loggia 
with three pointed aiul traceried arches, 
carried on twisted columns with balus- 
trade between. Within this loggia is a 
statue of the Virgin and Child. A rich 
sculptured frieze is carried round the 
porch above the arches under a sculptured 
gable. An arcade of small round arches 
crosses the front in line with the loggia, 
probably belonging to the original fa9ade. 
They are grouped in threes by iiointed 
enclosing arches, a later addition. Above 
is a second arcade of small pointed arches 
without enclosing arches. In the xiv 



FIESOLE 



cent., a magnificent upper story was add- 
ed, witli an arcade of four broad pointed 
arclies in eacli division, deeply recessed, 
with twin windows in eacli arcli, and a 
profusion of columns in the jambs. Be- 
tween the arcade and the gable in each 
division is a cusped rose window. This is 
one of the richest church fronts in Italy, 
and there is in it, j^erhaps, more of the 
character of the northern Gothic than 
can be found in any other Italian exterior ; 
the deeply splayed jambs, the profusion of 
shafts, the extent to which in the upper 
portion the continuous openings have 
abolished the wall sui'face, conduce pow- 
erfully to this effect. At the same time 
with the addition of the upper stage of 
the front, the clerestory walls were in- 
creased in height by the addition of a con- 
tinuous arcade of small arches, carried on 
square pilasters and with ogee archivolts. 
The church was begun about 1095 by 
Nicolo di Vico Ariolo (Ficarolo). The 
square brick Eenaissance campanile in 
four stages was begun 1455 and finished 
1491. The church is very large — nearly 
370 ft. long — and has two transepts. The 
interior was remodelled in 1637 in baroco 
style, and its interest destroyed. {See 

FIESOLB (anc. Faesulfe), Italy. 

La Badia. The original monastery 
was founded about 1028, but was rebuilt, 
including the church, from the designs of 
Brunelleschi, about 1430. The small 
church has a very plain nave covered by 
a simple barrel-vault, enclosed by four 
round arches on each side springing from 
square piers without bases or capitals. 
The aisles are divided into square chapels, 
each lighted by a small rectangular win- 
dow. The transept matches the nave, 
and the crossing, bounded by four high 
round arches springing from square Cor- 
inthian pilasters, is covered by a flat 
dome. The rectangular choir is as broad 
as the nave, and nearly as long, the total 
length of the church being about 150 ft. 



The interior is sparingly lighted by one 
round windoAV in each end of each vault, 
and a few small slits in the walls of choir 
and transept ends. The exterior is of 
little interest, the walls being of rough 
stone without much design. The fagade 
still retains part of the old work in black 
and Avhite marbles. 

EoMAN Baths, divided into three main 
halls, which lie side by side and are con- 
nected by doorways. The first and largest 
of these, on the north, preserves portions 
of a marble pavement and wall-encrusta- 
tion ; it, with the small rooms opening 
into its extremities, is recognized as the 
frigidarium. The middle hall and that 
to the south both have furnaces connected 
with them ; the fioor of the latter was 
raised over a hypocaustum on low piers of 
brick for the passage of the hot air, and 
is paved with marble. 

S. DoMEBTico, a XYi cent. Renaissance 
church, of which the architect is not 
known. Its plan comprises a small nave 
with three square chapels opening from it 
on each side by round arches faced with 
pilasters. Above is a clerestory lighted 
by large rectangular Avindows with pedi- 
ment caps in the lunettes of the barrel- 
vault. There is no transept, but before 
the large oblong choir is a sort of vestibule 
or loggia of three vaulted bays Avith round 
arches over a Corinthian order. In the 
middle bay stands the high altar. On the 
front is a portico of the full breadth of 
the church, Avith five arches resting on 
slender Tuscan columns, and a groined 
ceiling. The portico dates from 1635. 
At the N. W. angle of the choir is a slen- 
der square campanile with a spire. 

Ancient Theatre, on the sloi^e of the 
hill behind the cathedral, facing north, 
and in remarkable preservation. There 
are six entrances in the extei'ior Avail, and 
the caA'ea exhibits tAventy tiers of seats di- 
vided into six ctinei or wedge-shaped 
divisions by five radial flights of steps. 
The orchestra is clearlv defined, as is the 



196 



FLORENCE 



before which survives the trench 

3 falling curtain. 

ft., that of the 

some this theatre 



stage, 

intended to receive tl 
The diameter is 220 
orchestra is 69 ft. By 



has been called Etruscan ; but this theory 
is untenable. It is in fact one of the 
earliest knovi'n Roman theatres. 
FLORENCE (Firenze), Italy. 

Tlie Badia was originally the church of 
a monastery founded in 978, but was re- 
built in the xiii cent, by Arnolfo da Cam- 
bio, and again in 1G25 from the designs 
of Matteo tSegaloni. Tlie cliurch, buried 
in a mass of surrounding buildings, is 
approached by a long narrow corridor 
flanked by various cliapels. Its plan is a 
Cirreek cross about 80 ft. in each direction, 
from the eastern arm of whicli opens a 
square choir terminating in a semicircular 
apse, while from the transept open three 
rectangular cliapels in the angles of the 
cross, the fourtli angle being occuj^icd by 
the tower. The intei'ior architecture is 
rich and well proportioned, though baro- 
co in style ; tlie walls are faced with two 
orders of pilasters, the lower Corintliian, 
tlie upper of fanciful design ; the flat 
wooden ceiling is deeply panelled and 
decorated with carving and color. The 
campanile is the only portion of the 
church which recalls its early architect- 
ure. It is a slender octagon.il tower, 
divided by string-courses into stages witli 
coupled windows in each fai^e — those of 
the two upper stages being pointed, 
crowned Avith a double pointed - arched 
corbel-table, under an octagonal s[)ire with 
high gables at its base. 

Baptistery of S. Giovaxxi (St. 
John), one of the most ancient buildings 
in Florence, its age not accurately known, 
but ascribed by dirt'erent authorities to 
various dates from the v cent, to the xr., 
and. at least in its jn-esent form, more 
safely assigned to tlie later date. It is 
reputed to have been for centuries the 
cathedral church, and made a baptistery 
only upon the completion of the newer 



cathedral of Sta. Maria del Fiore. It is 
an octagon of about 83 ft. internal diame- 
ter, its interior disposition resembling that 
of the Pantheon at Ronie. Each side, ex- 
cepting that on which the high altar is 
placed, has a flat niche with a Corinthian 
order of red and gray marble columns in 
front, carrying a low entablature. Above 
these is an order of flat Composite pilas- 
ters, with coupled arches in the intervals, 
opening into a gallery, and an entablat- 
ure, surmounted by a panelled attic, from 
which rises the high octagonal dome, with 
an elliptical outline, its crown 10.3 ft. 
above the pavement. The eye of the 
dome, originally open to the sky as in the 
Pantheon, was covered by the present 
The entire inner surface 
mosaics of various dates 
earliest as old as 122.5. 
o'ures have suffered from 



lantern in 11.50. 
is covered with 
and styles, the 
Manv of the fi 



restorations. The square western recess 
in which the high altar stands was added in 
the beginning of the xiir cent.; it opens 
from the l^aptistery by a great arch spring- 
ing from the entablature of the first order 
and rising to that of the second, and its 
barrel-vault is covered with a fine early 
mosaic. Tlie pavement is a mosaic of 
black and white marble of an intricate 
and beaiitif ul design. Of the exterior as 
first built we have no means of knowing. 
It was more or less reclothed in 1288-93 
l)y Arnolfo da Lapo, the first architect of 
the Cathedral, with a facing of black and 
white marbles. There are three stages, 
in two of which each side of the octagon 
is divided into panels by pilasters in the 
first story, and by engaged columns in the 
second, the latter bearing round arches, 
with a projecting cornice above. Under 
the arch-lieads are windows of classic de- 
sign. The third story is an attic without 
openings. A low octagonal roof covers 
the building, with a small lantern at the 
apex, and there is no suggestion of the 
s-reat dome Avithin. The whole surface 
of the walls is banded and panelled with 



127 



FLOEENCE 



black and white marbles in simj^le pat- 
terns. Two uoble shafts of red porjjliyry, 
which stand on either side of the eastern 
entrance, were presented to Florence by 
the Pisans in 1117 in return for help ren- 




Fig, 65. — Florence, Baptistery. 

dered to tlieir city in time of war. The 
tliree pairs of bronze doors closing the 
south, north, and east entrances are 
among tlie most splendid works of Ital- 
ian art. Those of the south entrance 
were executed by Andrea Pisauo", and were 
begun in 1330. The design has been at- 
tributed by Vasari to Giotto, and so high 
was the estimate of : their beauty at that 
time that their completion Avas celebrated 
as a festival throiighout Tuscany. But 
their fame was to be eclipsed by the doors 
of the other two entrances. These were 
only taken in hand in 1401, when a com- 
petition was set on foot, in which seven 
artists participated, among whom Avere 
Donatello, Brunelleschi, and Lorenzo 
Ghiberti. The work was eiven to Ghi- 



berti, then ©nly twenty years old, and the 
doors were finished in 1424. {See Fig. 65.) 
Bargello. See Palazzo del Podesta. 
The BiGALLO is a small loggia opposite 
the Baptistery, attributed to Brunelleschi, 
but probably built before his day as a por- 
tion of a hospital, and now forming the 
vestibule and oratory of La Misericordia. 
The round arches are about 1.5 ft. wide and 
nearly 20 ft. high, of extremely elegant 
design, Avith square panelled piers rest- 
ing on sculptured pedestals, broad mould- 
ed archiA'olts and sculptured spandrels. 
Above the arches runs a broad frieze Avith 
pointed, ensiled, and gabled niches, enclos- 
ing statues. The second story has pointed 
tA\'o-light AvindoAA^s high up under a broad 
projecting eaves-cornice, vigorously brack- 
eted. The Avhole is a remarkable union 
of elegance and j^icturesqueness. 

The Caaipakile of the cathedral, com- 
monly called Giotto's Tower, is the most 
admired example of Florentine decorative 
architecture. It is the product of Giot- 
to's perfected genius, having been begun 
in 1334, not quite three years before his 
deatli, at Avhich period it had reached jier- 
haps one-third of its height. It stands de- 
tached from the S. "\V. angle of the cathe- 
dral. It is forty-five feet square at the 
base. Avith scarcely a]iy diminution up- 
Avards, and its height of 275 ft. is divided 
into four stages, of Avhich the first may 
be regarded as a base, Avithout openings 
except the door\Yay, and subdivided at 
mid-height into a loAver and upper base. 
The second and third stories have in each 
face two-light AA'indoAVS of exquisite beaut}^, 
Avith pointed and ciisjjed openings over 
traceried balconies, divided and enclosed 
by delicate twisted shafts, surrounded by 
sculptured mouldings and marble inlay, 
and coA-ered by a crocketed gable. The 
fourth or belfry stage has in each face a 
single high three-light AvindoAV of similar 
character to those beloAv. The angles of 
the toAver are marked by octagonal but- 
tresses, continued Avithout change of out- 



]2S 



FLORENCE 



line or character from the ground to the 
summit. The various stages are separated 
by mouhled and decorated strings with 
sculptured friezes, the bold cornice is cor- 
belled on cusped pointed arches carried 
round the angle buttresses, with a narrow 
inlaid frieze al)0ve and a crowning balus- 
trade. The Avall-surfaces of wliite mar- 
ble are crossed by horizontal bands of deli- 
cate inlay and sculpture, and are every- 
where divided into vertical panels by lines 
of dark green serpentine, the panels and 
borders often adorned by inlaid 
geometrical patterns, and those 
of the sub-base by a series of bas- 
reliefs attributed to (Jiotto, illu.-^- 
trating the successive periods of 
human life and civilization. In 
the upper base the lower panels 
are occupied by a series of deep 
vaulted niches containing stat- 
ues. The original design for the 
tower included a crowning spire 
rising 00 ft. above the present 
cornice. {Sec Fig. tJU.) 

Capella Pazzi. This chapei, 
one of the earliest works of the 
Renaissance, was hailed as a tri- 
umph of Brunellesclii, wlio built 
it in 1420. It opens from tlie 
larger cloister of the church of 
Sta. Croce, and is a simple rec- 
tangle, with one of its longer 
sides facing the cloister and cov- 
ered by an arcaded iiorcli, while 
a small, square choir opens from 
the op})osite side. The central 
portion of the rectangle is cov- 
ered by a low ribbed dome, light- 
ed by lunettes, the ends by Ijarrcl- 
vaults, springing from the entab- 
lature of an order of ('orinthian 
pilasters, which decorates the 
walls. The porch is an elegant composition 
in two stages, the first an open colonnade of 
six Corinthian columns, the middle opening 
miicli broader than the rest, and covered 
by an arch rising through the second story. 



which is elsewhere a flat, panelled wall 
divided by delicate coupled pilasters car- 
rying a high entablature with decorated 
frieze. Above this is a light wooden 
loggia. The interior is beautifully deco- 
rated with reliefs by Luca della Robbia. 
The porch has a handsome barrel-vault, 
richly panelled, and a low dome on pen- 
dentives in the centre. The wall within 
the porch has engaged pilasters answer- 
ing to the columns in front, a pedimented 
doorway in the middle, and round arched 




Fig, 66. — Florence, Cathedral and Campanile. 

windows. The frieze of the order is deco- 
rated like that of the exterior. (See Fig. 
67.) 

Cathedral or Duomo (Sta. Maria del 
Fiore). The cathedral of Florence, dedi- 



129 



FLOEENCE 



cated to St. Mary of the Flower, is the 
most important and splendid work of 
Gothic architecture in Italy, as it is, with 




Fig. 67, — Florence, Cloister of Sta. Croce and Capella Pazz 



the exception of St. Peter's, the largest 
church. Its plan is one of extreme 
simplicitjr ; a vast unbroken octagon, 135 
ft. in diameter, from three of the car- 
dinal sides of which open great apses in- 
cluded within five sides of an octagon, 
while from the fourth projects the great 
nave, 56 ft. wide, flanked by aisles nearly 
30 ft. wide. The whole interior length is 
about 485 ft. ; the breadth, including the 



lateral apses, 300 ft. The nave exhibits, 
in an exaggerated degree, the characteris- 
tic disposition of parts in the Gothic of 
Italy. Its length, about 
" - 350 ft., is divided into 

only four square bays by 
square piers with octag- 
onal angle-shafts, which 
are Joined by four enor- 
mous pointed arches of 
56 ft. span, and from 
Avhich spring also trans- 
verse arches across nave 
and aisles. The pilas- 
ters that face the piers 
are continued between 
the arches like vaulting- 
shafts, and the clumsy, 
foliated capitals are re-- 
peated on a level with 
the crown of the arches, 
above which is a con- 
tinuous horizontal cor- 
nice, and a low project- 
ing gallery, which runs 
round the church, and 
from b e h i n d which 
springs the four - part 
vault of the nave, ris- 
ing to the height of 145 
ft. above the pavenient. 
The clerestory is insig- 
nificant, being wholly 
comprised within the 
tympanum of the vault, 
and pierced by a single 
round opening high up 
in each bay, while in 
each bay of the aisle is a single high and 
narrow two-light window. The choir is a 
low, octagonal enclosure in the middle of 
the central octagon. The three apses to the 
north, east, and south are alike, covered 
each by an octagonal half dome, and from 
each of their sides opens, by a high pointed 
arch, a vaulted chapel about 20 ft. square, 
enclosed by the outer wall, over which each 
side of the apse is pierced by a two-light 



130 



FLORENCE 



window similar to those of the aisles. 
Above the great arches of the apses the 
wall of the central octagon is carried up- 
nearly 40 ft., forming a drum for the 
great dome 135 ft. in diameter, the full 
breadth of the church, preserving the oc- 
tagonal outline of its base, and rising 
with its lantern to the height of nearly 
390 ft. above the pavement. The lantern 
which crowns the dome is scarcely visible 
from within through the narrow circle at 
its base, and the frescoes from Vasari's de- 
signs, with which the surface of the dome 
was covered in 1572, are insufficiently 
lighted. The windows throughout the 
church are mostly filled with stained or 
painted glass, made in Germany during 
the first half of the xv cent, from the de- 
signs of Ghiberti and Donatello. This 
great interior is perhaps the most emphatic 
example in existence of the completeness 
with which a great architectural concei^- 
tion can be brought to naught in execu- 
tion. There is probably no church in Eu- 
rope of comparable dimensions of which the 
effect is so poor and bald. The immense 
size and heiglit of tlie nave (the latter equal 
to that of Amiens) are neutralized by the 
scale upon which its several parts are de- 
signed ; the distance at which its piers 
are set depriving it of that continuity 
which is so important an element in the 
grandeur both of the northern Gotliic 
churclies and of the basilicas. Tlie effect 
which belongs of right to the tliree great 
apses which surround the dome is sacrificed 
by their isolation from each other, and the 
disposition of their chapels ; and the ma- 
jestic proportions of the great central oc- 
tagon and its dome are rendered inef- 
fective by the poverty of their treatment. 
Througliout tlie whole interior great sur- 
faces of bare, fiat wall, dull in color and 
unrelieved by important architectural feat- 
ures, meet the eye, and tlie whole effect is 
one of nakedness aiul gloom. 

The exterior, altliough it is the work 
of various architects working throuo'h suc- 



cessive administrations for a hundred and 
fifty years, and although the interest of 
the various parts is by no means equal, 
yet preserves a substantial consistency 
throughout. The walls, veneered with a 
thin facing of white marble, are every- 
where covered by a monotonous rectangu- 
lar panelling formed by strips of dark- 
green serpentine. On the flanks of the 
church the interior division is indicated 
both on the aisle and clerestory walls by 
sqviare buttresses, between which in each 
bay of the aisle wall is a slender two-light 
window, lavishly decorated with exquisite 
detail, of twisted shafts, jambs of marble 
inlay, high crocketed gables flanked by 
pinnacles and lifted far above the arch, 
the interval being filled with a marble in- 
lay of geometrical patterns. The side 
doorways are decorated with even greater 
profusion of ornament. The aisle wall is 
terminated by a fine and decorative arched 
corbel-table and a j)ierced balustrade, 
above which the clerestory wall, whose 
flatness is scarcely relieved by the double 
series of oblong panels, is pierced by a 
single, plain round window in each bay. 
In the eastern half of the cathedral, the 
wall-surfaces are divided by two ranges of 
blind arches rising to the height of the 
aisle wall, Avithin Avhich the windows of 
the apses and of their chapels are of simi- 
lar design to those of the aisles. Around 
a part of the octagon the angle buttresses 
are finished with capitals of more or less 
classic character, carrying au entablature, 
above which is an open arcaded gallery 
with an order of columns surmounted by 
a balustrade. The crowning lantern is a 
high octagon with pilasters at the angles, 
round arches between, and wide-projecting 
angle -buttresses pierced by arches and 
covered by scrolls. This portion of the 
church, with the three apses covered by 
octagonal domes, their angles reinforced 
by buttresses of great projection, and the 
vast central dome rising above all, has 
great variety and interest. The dome has 



131 



FLOEENCE 



not all the effect wliicli belongs to its size 
and height and superb outline ; the drum 
is but a repetition of the flat clerestory 
wall lifted up a story with its feeble panel- 
ling and its unsightly round Avindows, and 
the junction of the drum with the dome 
itself is not sufficiently marked. But in 
judging this work the extreme difficulty 




Fig. 68. — Florence, Cathedral, East End. 

of Brunelleschi's task must be remem- 
bered. The fact that it was absolutely 
without precedent makes his achievement 
extraordinary ; and the wonder is, the 
mechanical difficulties being brilliantly 
overcome, not that the artistic result is 
faulty in detail, but that in sjiite of its 
faults the effect is so admirable and im- 
pressive as it is. The grouping of the dome 
and apses from N. E. or S. E. is of almost 
unexampled majesty. 



The materials for the early history of 
the cathedral are scanty and conflicting. 
The rebuilding of the old cathedral of 
Sta. Reparata, which, dating from a pe- 
riod anterior to the viii cent., had been 
the cathedral church since the early part 
of the XII, was resolved upon in 1294; and 
the work was begun in that year under 
the direction of Arnolfo da 
Lapo, who was architect of the 
Commune and Avas already en- 
gaged at Santa Croce ; and who 
carried on the works until his 
death in 1310. An interval of 
twenty years then occurred dur- 
ing which the work appears to 
have languished. In 1334 
Giotto was appointed to the 
charge of the catliedral, the 
town walls, and other works of 
the Commune. Under him the 
building of the cathedral was 
resumed with vigor, and the 
foundations of the campanile 
were begun within three months 
after his appointment. Giotto 
died in January, 1337, and an- 
other interval of inaction seems 
to have intervened. By the 
middle of the century it had 
come to be felt that, the neAV 
cathedral, as planned by Arnol- 
fo, was too small to comport 
with the growing dignity and 
wealth of the republic. A 
larger plan was determined on, 
which lengthened the nave and 
heightened the aisles, Avithout, however, 
disturbing essentially the Avails already 
built. Up to this time the old cathedral of 
Sta. Reparata was still standing within the 
walls of the ncAV building. It Avas taken 
doAvn in 1375. The Avork of enlargement 
Avas begun in 1357, under Francesco Ta- 
lenti, under whom and his son Simone 
the building appears to have been contin- 
ued Avith reasonable steadiness. In 1407. 
Avhen the body of the church Avas practi- 



133 



FLOKENCE 



cally complete, tlie question of covering 
the central octagon remained. The orig- 
inal design of Arnolfo appears to have 
included a dome for the central feature, 
but to have left its details undeter- 
mined. The difficulties to be met were 
enormous. The space to be covered was 
greater than any yet covered by a dome, 
except in the Pantheon at Kome, where 
the dome sat on a continuous circular 
wall built from the ground, and of no ex- 
cessive height. After years of discussion 
and consultation, a competition was in- 
vited in 1418, in response to which fifteen 
models were presented. Among these, 
the only two which were seriously consid- 
ered were tliose of Filippo Brunelleschi 
and Lorenzo Ghiberti. In 1420 they 
were appointed as joint masters of tlie 
work, and with them was associated Bat- 
tista Antonio. Work was begun in Aug- 
ust of tlie same year. From the first 




Fig. 69.— Florence, Cathedral, Plan 
The black plan shows the ohuroh as it is thourrht to have 
been desisrneil by Arnolfo ; tlie ontline plan the enlaigemeut 
of the eastern part to its present size by Talenti. 



Brunelleschi's was the governing mind. 
His plan comprised two domes, an inner 
and an outer shell, separated by a space 
wide enough for passages and stairways, 
but joined at each angle of the octagon 
by a withe or rib of masonry, and by 
smaller intermediate ribs. The lower por- 
tion, perhaps a third in height, was to be 
of stonework, all above of brick. The 
work was to be accomplished without 
centering, and Avas to be bound together 
by two chains of iron and timber. The 
contemporary accovints of Brunelleschi's 
energy and inventive genius are most in- 
teresting. He had need of it all, for his 
work was beset with difficulties and dis- 
couragements, not the least among which 
were those arising out of his association 
with Gliiberti, who appears to have proved 
both jealous and incompetent, but who 
held his place until 1432, when the work 
was approaching completion. On the 
twelfth of June, 1434, it was so far fin- 
ished that the cathedral Avas consecrated 
with ceremonies of great splendor by the 
pope, Eugenius V. In 1436 a new com- 
petition was instituted to determine upon 
a design for the lantern. This work also 
was given to Brunelleschi, but its execu- 
tion was delayed for nine years, having 
been begun in 1445. Brunelleschi died 
in the following year, and the lantern 
was coni2)leted from his design in 14G7. 
The fa(;ade of the cathedral waited long 
for completion. In the earlier stages of 
the work it appears to have been carried 
on along with the side walls, with which, 
in point of design, it doubtless corre- 
sponded. Of this fa9ade, which is said 
to have been adorned with statues by 
Donatello and other masters, the design 
was long believed to have been by Giotto. 
More recent researches make this improb- 
able, and seem to show that the fa9ade 
was not begun at the period of his deatii 
in 1337. A few years after the cathedral 
was otherwise complete, a competition 
was set on foot looking toward the fin- 



133 



FLORENCE 



isliing of the fa9ade, but tlie death of Lo- 
renzo the Magnificent put a stop to the 
project, which was revived in 1515, when 
Sansovino made a design accompanied by 
a wooden model. This also came to noth- 
ing, and the unfinished front stood until 
1588, when it was taken down by the 
Proveditore, Benedetto Uguccione, with 
the intention of rej^lacing it by a front in 
the style of the Renaissance. This mis- 
fortune was happily averted, and the 
rough brick wall remained nearly three 
hundred years longer, until, in 1865, in 
response to an invitation for a competi- 
tion one hundred designs were sent in, 
of which that of the Chevalier de Fabris 
was accepted. The work was not begun 
until 1875, and the new front was conse- 
crated in 1887. It is in three comjDart- 
ments, the central one the highest, and 
crowned with a gable decorated with 
mosaics. It is divided and flanked by 
square projecting buttresses, and crowned 
by bold arcaded cornices. In each divi- 
sion is a pointed-arched, and gabled door- 
way, and a wheel-window enclosed in a 
square frame — the only windows in the 
fa9ade. The whole front is extremely 
rich in decoration ; the buttresses have 
each a vertical range of coupled, recessed 
panels, and a line of canopied niches en- 
closing statues crosses the front at the 
level of the aisle roofs. {See Figs. 66, 68, 
69.) 

Giotto's Tower. See Campanile. 

The Lauresttiajs" Library, attached 
to the church of S. Lorenzo, is ap- 
proached from the cloister of that church 
through a lofty vestibule about 33 ft. 
square, of which the lower portion has an 
order of coupled engaged columns with 
niches between ; the wall above being un- 
finished. A staircase of eccentric design 
in tlie middle of this vestibule leads to 
the library, a noble hall about 32 ft. wide, 
145 ft. long, and 28 ft. high. The walls 
have an order of Doric pilasters, with 
panels between enclosing large square 



windows glazed with painted glass. The 
flat ceiling is panelled and decorated "vith 
rich and beautiful wood - carvings ; the 
pavement is of red and white tiles with 
elaborate arabesque patterns. A range of 
benches and reading-desks, disposed on 
either side of a central aisle, is also carved 
with great richness. The work was be- 
gun by Michael Angelo in 1521 for Clem- 
ent VII., and continued after his depart- 
ure for Rome by Vasari and Ammanati. 
The collections, begun by Cosimo de"" Me- 
dici in the middle of the xv cent., had 
for a hundred years a singular history, 
passing successively into the possession of 
the Dominican monks of San Marco, of 
Clement VII., of Leo X., and being re- 
moved to the Palazzo Vecchio. to Rome, 
and back to Florence, finding here at last 
a permanent home. 

Loggia dei Laxzi, a trijole - arched 
portico, occu23ying the greater portion of 
one side of the Piazza della Signoria, of 
great simplicity of design, and forming, 
from its great scale, the nobility of its 
lines, and the justness and beauty of its 
ornamentation, one of the most striking 
and admirable of architectural monu- 
ments. It is about 120 ft. by 50 ft. Its 
front consists of three majestic round 
arches, each some 32 ft. in span and 50 
ft. high, s^jringing from chistered piers 
of about 6 ft. diameter with high deco- 
rated bases surrounded by engaged pedes- 
tals bearing lions, and with liigli foliated 
caps. In the spandrels are sunken tre- 
foils enclosing figures in high relief of 
six virtues, originally illuminated with 
color on a background of gold mosaic. 
Above the arches is a deejD frieze bearing- 
shields and a beautiful arcaded cornice of 
bold projection, crowned by a pierced 
parapet of quatrefoils in square panels. 
The whole height is about 80 ft. Toward 
the Uftizii the Loggia opens with a single 
arch like those of the front. The interior 
is covered by three groined vaults. It 
contains many works of sculpture, notably 



1S4 



FLORENCE 



the Perseus of Benvenuto Cellini, and the 
Judith of Donatello. The Loggia was 
commenced in 1374. Its design has been 
ascribed to Andrea Orcagna, and it was 
intended to form part of a comprehensive 
design for the improvement of the Piazza. 
{See Fig. 70.) 

The Mercato Nuovo, or new market, 
is a rectangular open loggia, standing 
detached in a public square, about 95 
ft. long and (JO ft. Inroad, with four round 



Tasso, and remains to this daj^ the cen- 
tre of the trade in various kinds of straw 
goods. The architecture is simple and 
very elegant. 

La Misekicordia. See Bigallo. 

Or San Michele (from Horreum 
Sancti Michaelis, it is thought), an inter- 
esting example of Florentine Cxothic, 
built by order of the Signory in 1284, 
as a grain market, from the designs 
of Arnolfo da Lapo, and after suffering 




Fig. 70. — Florence, Loggia clei L.inzi. 



arches on each long side and tliree on 
each end, and divided into twelve domed 
bays by cross arches which spring from 
Corinthian columns. The angles of the 
building are strengthened by massive 
square piers carried to the cornice, and 
bearing on each outer face a semicircular 
niche surmounted by a pedimented cap, 
while tlie columns at the ends are need- 
lessly sujiported by lighter piers. The 
elevations are crowned by a continuous 
entablature with a very broad unadorned 
frieze. The market was built in 1547 for 
Cosimo I., from the designs of Bernardo 



from two conflagrations, rebuilt in its 
present form between the years 1336 
and 1378. It is a rectangular building, 
lOG ft. long and 65 ft. wide, in three 
stories, of which the lowest was originally 
an open loggia of great round arches, 
springing from plain square stone piers, 
divided into six square bays, covered each 
Avith four -part vaulting. In 1337 the 
lower story was enclosed, and the interior 
transformed ' into a church ; the arches 
were filled Avith three-light windows with 
traeeried heads, divided by shafts, and 
glazed with good painted glass. The sec- 



135 



FLOEENCE 



ond and third stories are alike, except iu 
height, each having two-liglit pointed 
and cusped windows with slender shafts 
and jamb - mouldings continued round a 
pointed bearing-arch, Avith a simjole label. 
The front is finished by a finely develoj^ed 
arched corbel-table, the arches large and 
cusped, the corbels thin and boldly pro- 
jecting, above which is a balustrade with 
square panels carved with tracery. The 
most remarkable feature of the building- 
is the decoration of the piers of the first 
story, which bear on their faces niches en- 
closing statues, given by the twelve guilds 
of Florence and including works by Don- 
atello, Ghiberti, John of Bologna, and 
other masters that are among the noblest 
examples of Italian sculptiire. The niches, 
a striking illustration of the exquisite or- 
nament of which this age was capable, 
are of various design, though of the same 
character, having pointed and cusped 
arches carried on slender shafts, with 
straight or ogee pinnacled gables, and 
decorated in every part with delicate 
sculpture and marble inlay. The interior 
of the church contains a remarkable tab- 
ernacle of white marble, by Orcagna, built 
from the offerings made during the great 
plague of the xiv cent., which is a won- 
der of minute and exquisite decoration in 
sculpture and mosaic. Tlie upper stories 
of the building retained their original use 
as a warehouse for the storage of grain 
as late as 1569, when Cosmo I. made them 
a depository for the national archives, 
which they still remain. 

OsPEDALE DEGLI Iknocexti. the Hos- 
pital of the Innocents, or foundling hos- 
pital, was founded in 1421, and the 
building Avas begun from the designs of 
Brunelleschi ; but he being called away 
from Florence by his engagements in con- 
nection with the wars of the time, the 
work was carried out by his pupil, Fran- 
cesco della Luna. I'lie building has a 
long fajade on the Piazza dell' Annun- 
ziata, in two stories, of which the first 



is an open vaulted arcade of broad round 
arches on Corinthian columns, the span- 
drels bearing roundels containing each the 
figure in majolica of an infant in swad- 
dling-clothes, by Luca della Robbia. A 
continuous belt over the arcade forms the 
base of the low second story, which has 
over each arch a square window with 
moulded architraves and pedimented cap. 
The interior court is of similar architect- 
ure, surrounded by a vaulted arcade, 
over which is a second story with plain 
square windows, the wall-surfaces of Avhite 
marble being laid off in square and circu- 
lar panels by stripes of dark color imitating 
various devices in inlay. 

Palazzo Bartolini, a small Renais- 
sance palace built about 1520 by Baccio 
d'Agnolo. It has a small fayade in three 
stories, with a square doorway in the 
middle, enclosed in a small portico of two 
Doric columns with entablature and pedi- 
ment. On each side the doorway is a 
single square pedimented window with a 
smaller opening below it. The doorway 
is approached by five steps, and the base 
of the building is brought forward to 
form a continuous bench across the front. 
The windows of the upper stories, each 
divided into two lights by a curious couple 
of superposed columns, all carry pedi- 
ments alternately round and triangular, 
borne on pilasters, and are flanked in the 
second story by round-arched niches. 
The lines of the window entablatures are 
continued across the front to the angle 
piers of rustic work ; the stories are sepa- 
rated by entablatures with decorated 
friezes, and the front is finished by a bold 
and somewhat exaggerated corniccione. 
This palace is historically noted as the 
first Renaissance example of a classic or- 
der with a pediment enclosing a door or 
window. 

Palazzo Giugki, a Renaissance palace 
built in the last quarter of the xv cent. 
from the designs of Ammanati. Its plan 
is nearly square, with a fagade on the 



136 



FLORENCE 



street and another on the garden, each 
about 90 ft. long in three stories with a 
central doorway and two windows on each 
side of it. The garden front has in the 
middle of its third story an open triple- 
arched loggia of Venetian character, the 
arches springing from coupled columns, 
with windows and door ungracefully dis- 
tributed about. Tliere is an interior court 
about 32 ft. square with three arches on 
each side opening into vaulted loggias, 
that on one side forming the entrance 
vestibule from the garden. 

Palazzo Goxdi, an early Renaissance 
palace, built in 1481, from the designs of 
Giuliano di S. Gallo. It has a fine and 
characteristic fa9ade, which seems, how- 
ever, to be but a jiortion of what was orig- 
inally intended. It is in three lofty 
stories, the first of bold rustic work, tlie 
second light rusticated, the 
third plain; the whole 
height being about 80 ft. The 
openings are plain round 
arclics bordered by continu- 
ous mouldings, the archivolts 
bonded in Avith the rustic 
work. In the first story of 
the fa9adc three door- ways 
are unsymmetrically i)laccd, 
with square windows between ; 
the windows above are arched, 
seven in each story. The front 
is crowned by a simple cornic- 
cione with square modillion- 
blocks and dentils. The pal- 
ace encloses an interior court 
about 17 ft. by 30 ft., with a 
fountain in the middle, and 
a beautiful siirrounding open 
arcade with Corinthian col- 
umns, one side of which is 
occupied by a fine decorated staircase. 
The iKilace was re-stored in 1874. 

Palazzo Guadagxi. a large palace pre- 
sumed to date from the middle of the xv 
cent, and attributed to Cronaca. It has 
two fa§ades in four well-marked stages, 



the lowest a plain wall of stone with a 
row of square windows, its angles marked 
by rustic piers of slight projection, the 
centre of the principal front by a simple 
round-arched doorway, while the base is 
brought forward so as to form a continu- 
ous bench on both fronts. The second 
and third stories have ranges of round- 
arched windows. All the openings are 
framed in rustic work, the arches being 
of the peculiar Elorentine type, round in 
the soffit and pointed at the back, but in 
this case slightly ogeed. The distinctive 
decoration is a band of rich and delicate 
sgraffito work at the top of the second 
and third stories. The fourth story is an 
open loggia with light columns of com- 
posite design over the piers below, and a 
broad eaves-cornice of great projection. 
The metal work of the exterior, as the 




Fig, 71 



torch-holders, the 
is of great elegance. 



angle -lantern, the 
door knockers, etc. 
{See Fig. 71.) 

Palazzo Larderel, a small Renais- 
sance palace of much purity and elegance 
of design, built about 15G0 from the 



137 



FLOEENCE 



designs of Giovanni Antonio Dosio, of 
Gemignano. Its three-storied fa9ade has 
a square doorway enclosed between en- 
gaged Doric cohimns carrying entablature 
and pediment and flanked by two win- 
dows of similar design, resting on broad 
sills supported by consoles. The two 
upper stories have each three square win- 
dows with simple pilasters carrying en- 
tablature and pediment, of which the 
lines are carried across the front. The 
angles of the building are marked by 
pilasters of rustic work carrying light en- 
tablatures which cross the front under the 
windows. At the top is a bold modillion- 
cornice. 

The Palazzo Non Finito, so called 
from its having been left unfinished, is a 
conspicuous palace begun in 1593 from the 
designs of Buontalenti, and carried on 
under successive architects. Its fa9ade is 
in three stories, of which the first only, in 
a baroco style, was the work of Buonta- 
lenti, the front having been finished under 
Scamozzi. It has a fine and spacious 
court of unusual design by Luigi Cigoli, 
measuring about 34 ft. by 70 ft., sur- 
rounded on the first story by an open 
vaulted arcade whose great arches, spring- 
ing from the entablature of an order of 
coupled Roman Doric columns, alter- 
nate with square openings. Tlie wall 
of the upper stories is divided by flat 
vertical strips into panels enclosing Avin- 
dows of various forms. 

Palazzo Pandolfiki. The design of 
this palace, built about 1520 for the bish- 
op of Troja, Gianozzo Pandolfini, is attrib- 
uted to Raphael, but the work was car- 
ried out after his death by Giovanni 
Francesco di Sangallo. Its fa9ade is of 
extreme elegance, and marks the definite 
abandonment of the severer style of the 
older Florentine palaces. It is about 165 
ft. in length, and has the appearance of 
having been left incomplete ; the main 
mass being flanked instead of divided by 
a great central doorway, a simple round 



arch enclosed in vigorous rustic stone- 
work. It has two stories of windows, 
crowned by pediments alternately trian- 
gular and segmental, those of the upper 
story being borne by engaged Ionic col- 
umns standing on a balustraded stylobate. 
The lines of the entablatures of the sec- 
ond-story windows cross the front and the 
piers are panelled. The walls of the build- 
ing are of smooth stucco, its angles em- 
phasized by rustic quoins, and the front is 
crowned by a fine and strong cornice with 
modillions and dentils, and with a broad 
frieze bearing an inscription proclaiming 
the name and office of the owner. To the 
right of the central doorway only the first 
story of this composition is carried out. 

Palazzo Pitti, the largest and in 
some respect the finest of the Florentine 
palaces and one of the most striking ex- 
amples of the XV cent, domestic architect- 
ure. It was begun in about 1440 from the 
designs of Brunelleschi, for Luca Pitti, the 
chief of the faction opposed to the rule of 
the Medici. It has a fa9ade something- 
like 600 ft. long, a mass of cyclopean rock- 
faced masonry, its separate stones of enor- 
mous size, and all its parts of corre- 
sponding scale. The design is of the 
severest simplicity, the great front is un- 
broken by a single vertical division, but 
while the greater part of it has only two 
stories, the centre is carried a story higher. 
The three stories have each a height of 
nearly 40 ft. ; the walls are pierced by a series 
of round arches in each story, about 13 ft. 
wide. In the lower story there are half as 
many as above ; they enclose pedimented 
windows on sills supported by consoles. 
The arches of the two upper stories en- 
close plain square-headed windows with 
round holes in the tympana. All are 
arched with voussoirs of great height, 
whose extrados forms a pointed arch. 
The stories are separated by heavy mould- 
ed string-courses, with a balustrade above. 
The cornice is but a repetition of these, 
and the absence of an adequate main cor- 



138 



FLORENCE 



nice is the one serious defect of this noble 
fapade. From each extremity of the 
front a broad terrace advances at rig:ht 
angles, which is an oj^en-arched loggia 
corresponding in char- 
acter with the main 
l)uilding. Of this fa- 
9ade only the central 
portion was built by 
Brunelleschi, the palace 
remaining unfinished 
for a hundred years af- 
ter the fall of its orig- 
inal owner, and passing 
into the hands of Cos- 
imo I., who toward the 
end of the xvi cent, 
built tlie great interior 
court from the designs 
of Amuumati, enclosed 
on three sides and open 
on the fourth side to- 
ward the gardens. The 
three elevations are in 
three stories of vigorous rustic work, each 
faced with an order of rustic columns, Dor- 
ic, Ionic, and Coriiitliian respectively, the 
first enclosing the open arches of a vaulted 
arcade, tlie intervals of the second and third 
filled with windows alternately square- 
headed and arched. The upper entabla- 
ture is treated as a corniccionc. The in- 
terior of tlie palace has many sumptuous 
apartments with columns of verd-antique 
supporting vaulted ceilings decorated in 
stucco and painted by Pietro da Cortona 
and other masters, with niches enclosing 
statues and rich pavements of colored 
marbles. The finest of these are now oc- 
cupied by tlie magnificent collection of 
liictures known as the Pitti (Jallerv. {Sec 
Fiff. 72.) 

The Palazzo del PodestI, or Bar- 
GELLO, was the residence of the chief 
magistrate of the Republic. It was begun 
in 1250 by La2io, a German, continued by 
F. Sisto and Ristoro di Campi, and sub- 
stantially rebuilt a century later. It cov- 



ers an area about 110 ft. by 200 ft. The 
exterior is of irregular architecture, the 
walls of strong, rough stone-work, mainly 
in three stages, but of unequal heights. 




Fig. 72,- 



Pitti, Rear Corner 



Tlie lower stage has plain arched door- 
ways and small windows high in the wall. 
The second is the pirnin noltile, with broad, 
two-light pointed and cusped windows 
with mullion shafts and round or point- 
ed bearing-arches. The third story is of 
various heights, with windows of various 
design ; the walls finish with a strong 
arched corbel-table and square battlements. 
A slender campanile rises from the angle, 
about 18 ft. square and 170 ft. high, with 
tall single round-arched windows in the 
belfry stage and a battlemented head. 
The interior contains a fine and extremely 
interesting court, an oblique quadrangle of 
about 65 ft., with a three-arched vaulted 
loggia on three sides, with round arches 
on octagonal piers with foliated caps, 
above which is an open vaulted gallery 
with six arches of the same character 
as tliose below. The third-story wall is 
flat, lighted by fine broad-pointed arched 
cusped windows with angle shafts. A 
picturesque open staircase rises from the 



KiU 



FLOEENCE 




Fig. 73,— Florence, Pal. del Podesta (Bargello), Loggia. 

court to the second-story gallery, with a 
sqviare gateway on a landing at mid- 
height. The interior, containing some 
noble apartments, notably the great vault- 
ed hall about 52 ft. by 85 ft. and nearly GO 
ft. high, has been lately restored with 
great thoroughness and good 
judgment, and contains the 
National Museum, an extensive 
and admirable collection of ob- 
jects illustrating the history and 
art of Florence. (See Fig. 73.) 
Palazzo Eiccardi, one of 
the largest and most imposing 
of the early Florentine palaces ; 
begun in 1430 for Cosimo de' 
Medici from the designs of Mi- 
chelozzi. It has three stories, of 
the height respectively of 18 ft., 
22 ft., and 33 ft. Its principal 
fa9ade is about 230 ft. long and 
80 ft. high, unbroken by any ver- 
tical division ; the first story of 
vigorous rock -faced stone-work, 
the second of smooth rustic ma- 
sonry, and the third of plain 
ashlar. The first story shows 
five broad, simple, round-arched 
recesses, widely spaced, and al- 
ternately occupied by doorways 
and square-headed windows, said 
to have been designed by Michael 
Angelo, with broad projecting 



sills sujjported on consoles and bold 
pedimented caps. The second and 
third stories have ranges of two-light 
windows with arched openings sepa- 
rated by a column and covered by round 
bearing-arches of the Florentine cres- 
cent shape over continuous moulded 
archivolts. The stories are divided by 
moulded string-courses and the front is 
crowned by a vigorous and admirably 
designed corniccione. The palace en- 
closes a small interior court about 38 
ft. square, with an open vaulted arcade 
on the first story, the second comijosed 
of two-light windows like those of the 
front, and the third of a very light open 
loggia, its roof carried on tliin Composite 
columns. A broad frieze over the first 
story arcades contains medallions with 
bas-reliefs by Donatello. The interior 
contains a great gallery painted by Luca 




Fig. 74.— Florence, Pal. Riccaidi. 



140 



FLOREIS'CE 



Giordano, and a chapel Avitli frescoes b}' 
Benozzo Gozolli. The pahice is now used 
for government offices. {See Fig. 7Jf.) 

Palazzo Eicellai, an early Renais- 
sance palace, built about 1450 and cur- 
rently ascribed to Leon Battista Alberti. 
It has an unfinished facade about 75 ft. 
long in three stories of rustic masonry, 
faced by three orders of flat pilasters — 
the first ornamented Tuscan, the second 
composite, the upper Corinthian. There 
are seven bays, and the beginning of an 
eiglith. In the street story two are occu- 
pied by rather low square-headed doorways 
witli broad architrave and horizontal cap, 
above which in each bay is a small square 
window. In the second and third stories 
ai'e two-light windows under broad round 
arches. The entablatures are carried un- 
broken across the whole front and their 
friezes are decorated with arabesques in re- 
lief. Tlie upper entablature, making the 
cornice of the fagade, is extremely heavy. 
The design of the Avholc is delicate, and 
the relief very slight. Tliere is some 
ground for attributing the design to Ros- 
selliuo, whose work at Pienza it much re- 
sembles. 

Palazzo Sthozzi. porliaps tlie finest 
and most consistent example of the dis- 
tinctive Florentine palace architecture of 
the XV century. It was begun in 1-489 for 
Fillippo Strozzi, by Benedetto da Majano. 
and fiuislied by Simone dal I'olhijuolo. 
called 11 Cronaca, to M'honi tlie architect- 
ure of the court is due. Its plan is a 
rectangle of 129 ft. by 174 ft.; witli fronts, 
substantially alike in design, on three 
streets, each with a simple round-arched 
entrance in the middle, from which a pas- 
sage leads to tlie centre of an interior 
court. The walls are entirely of plain 
rustic stone-work of extreme boldness, and 
ill three stories measuring respectively 26 
ft.. 30 ft., and 35 ft., the whole height of 
the wall being about 104 ft. The upper 
story is internally divided into two. the 
upper being lighted from the court. The 



windows of the street story are small 
square openings set high in the wall ; 
those of the two upper stories are alike, 
being two - light windows Avith round, 
arched ojienings separated by columns un- 
der a round bearing -arch, the voussoirs 
increasing in depth toward the centre. 
Thin dentil - cornices divide the stories. 
The fineh' profiled classic corniccione with 
its broad undecorated frieze is complete 
only on one fa9ade. A stone bench runs 
round the base of the entire palace. The 
great iron lanterns or cressets at the an- 
gles of the facades are characteristic and ex- 
cellent examples of mediaeval metal-work. 
The interior court, about 30 ft. by 58 ft., 
is surrounded on the first story by a vault- 
ed corridor with an open arcade of round 
arches with moulded archivolts, sjjringing 
directly from Corinthian columns. The 
second story is likewise a round-arched 
arcade, with broad flat pilasters resting on 
pedestals, and enclosing square windows 
with moulded architraves. The mould- 
ings of the pilaster capitals are continued 
across the arches and the arch-head is 
pierced with a single circular ojiening. A 
full entablature encircles the court above 
each arcade. The third story is an ojoen 
loggia with a sloping roof sujiported on 
light Corinthian columns standing on a 
balustrade. 

Palazzo degli Uffizi, an imposing 
group of buildings, begun by Vasari in 
1500, and finished, after his death, by 
Buontalenti, for the accommodation of the 
various administrative offices of the gov- 
ernment, but best known in later days as 
the home of one of the most extensive and 
admirable collections of pictures in exist- 
ence. The buildings consist of two nar- 
row wings, enclosing a court about 450 ft. 
long and nearly 00 ft. broad, open toward 
the Piazza della Signoria, and closed tow- 
ard the Arno by a cross building whose 
first story is a triumphal arch. The 
buildings are four stories in height, of 
which the first is an open vaulted corridor 



141 



FLORENCE 



about 20 ft. wide, with an order of Doric 
columns divided into groups of two by 
broad flat pilasters, which in the first story 
bear on their faces niches containing 
statues of famous Florentines. The win- 
dows above are grouped to correspond. 
Above the colonnade is a mezzanine with 
plain square windows with flat consoles 
between sujjporting an entablature ; then 
a piano nohile, with long windows with 
balcony and pediment, and lastly a high 
upper story, once an oj^en loggia, with 
light columns answering to those below, 
now closed by glazed frames which light 
the corridors of the picture galleries. A 
thin sloping eaves-cornice of nearly 7 ft. 
projection finishes the composition. 

Palazzo Uguccione, a small Renais- 
sance building dating from about 1550, 
with an unfinished fayade of unusual ele- 
gance, of which the design has been com- 
monly attributed to Raphael, by a few to 
Palladio, but which later authorities be- 
lieve to have been by Mariotto di Zanoli- 
Folfi. The fa9ade, about 54 ft. broad, is 
in three stories, the first composed of three 
arches of strong rustic masonry on mas- 
sive square piers, and crowned by a balus- 
trade. The second and third stories are 
each faced with an order of coupled col- 
umns, Ionic and Corinthian respectively, 
on pedestals, in the intervals of which are 
long rectangular windows with plain archi- 
traves and pedimented caps. The masonry 
ends with the architrave of the upper or- 
der and the front is covered by a broad 
projecting eaves-cornice. Over the mid- 
dle arch of the lower story was a bronze 
bust of Francis I. by John of Bologna. 

Palazzo Vecchio, the old palace of the 
Signory, a strikiiig and magnificent ex- 
ample of the half civil, half military archi- 
tecture of medigeval Italy. The original 
building was begun in 1298 under Arnolfo 
da Lapo, continued into the next century 
and finished by Taddeo Gaddi. Toward 
the end of the xiv cent, it was enlarged 
to the eastward to more than double its 



original size, and about 1446 it underwent 
important changes, mainly affecting the 
interior, under Michelozzo Michelozzi. 
The completed palace covers an area about 
140 ft. by 200 ft. Its fa9ade toward the 
great square is of strong stone masonry, in 
four well-marked stages, of which the first 
three are respectively of the heights of 37 
ft., 33 ft., and 23 ft. The lowest stage is 
a basement, without openings, except a 
single plain round-arched doorway and 
four small round-headed windows. The 
second and third stories are substantially 
alike, each having a range of broad two- 
light windows, with pointed and cusped 
oj)enings separated by a column, and cov- 
ered by a round bearing-arch, qt which 
the high voussoirs have a pointed extrados. 
Over the second story is a mezzanine with 
small windows. The wall of the fourth 
stage, about 26 ft. high, is projected forward 
with a range of machicolations of extraor- 
dinary boldness, the arches being nearly 
6 ft. broad and 12 ft. high, carried on 
straight corbels, whose projection from the 
wall is near 6 ft. Above these the wall of 
the fourth story is pierced with a range of 
thirteen plain round-arched windows, and 
the wall ends in high square battlements. 
The campanile, measuring 26 ft. on the 
face and about 18 ft. in depth, is a marvel 
of bold construction, its front wall being 
a continuation of the projecting fourth- 
story wall of the fa9ade, and its head be- 
ing crowned with machicolations u^jon 
nearly the same scale with those below, 
the wall above terminating in forked bat- 
tlements, within which rises an open bel- 
fry, with single round arches on massive 
round piers, with high foliated capitals. 
Above the arches the wall ends in an 
arched corbel -table with forked battle- 
ments above and a pyramidal roof. The 
tower is about 280 ft. high, exclusive of 
the roof. The entrance from the Piazza 
leads directly to a fine court, an irregular 
quadrangle of about 40 ft. across, sur- 
rounded by a noble loggia, its bold round 



142 



FLORENCE 



arches springing from columns which at 
the angles are octagonal. The shafts are 
decorated with arabesques in relief, the 
work of Michelozzi in the xv cent., and 
the walls of the loggia are covered with 
large frescoes representing the cities with 
which Florence was connected at that pe- 
riod, and its vaults with decorations in the 
manner of the disinterred Roman jialaces. 
The walls of the court above the arcade 
are two stages in height with fine two- 
light windows under round bearing-arch- 
es, and various smaller openings. Beyond 
the court a fine double staircase leads 
to the upper stories, where are many 
apartments of great size and splendor, 
notably tlie great hall of the council on 
the second story, about 85 ft. by 170 ft., 
with a magnificent panelled and decorated 
ceiling, which, as well as the walls, is cov- 
ered with frescoes l)y V^asari dating fi-om 
1530. The Sala dei Dugento, or ilall of 
the Two Hundred, has also a remarkable 
panelled ceiling. (Scr Fir/. 7f>.) 

SS. Angeli, an unfinished Renaissance 
church of which the exact date cannot 
now be ascertained, but belonging to the 
first half of the xv century. It was be- 
gun from the dcsigus of lirunellosehi, and 
the work was suspended when the walls 
had readied the lieight of about 20 ft. 
The building is interesting from the ele- 
gance of its plan, a sixteen-sided polygon 
of a diameter of about 96 ft. with a cen- 
tral octagonal space 51 ft. in diameter, 
from which open eight square vaulted 
chapels, with semicircular niches in tlieir 
abutting ends. On the exterior every al- 
ternate side had also a semicircular niche 
in the thickness of the partition wall 
between the chapels. 

Sta. AxNUXZiATA. originally a (iothic 
church, founded in 1250, but greatly al- 
tered and modernized in the xv cent, by 
Leon Battista Alberti. Across the front 
of the church is an open loggia of light 
arcades on composite columns carrying 
blocks of entablature. This opens by a 



central door into a large atrium or fore- 
court, surrounded by vaulted arcades, orig- 
inally open but now closed by glass sashes 
for the better protection of the admirable 
frescoes by Andrea del Sarto and other 
masters. The interior consists of a nave 
about 48 ft. wide, covered by a flat pan- 




Fig. 75. — Florence, Pal. Vecchio. 

elled ceiling decorated with gold and 
color, without aisles, but with a row of 
rectangular chapels opening from it by 
semicircular arches on each side, in the 
intervals of an order of pilasters, and 
rectangular windows in the wall above. 
I'he nave opens into a circular choir about 
T5 ft. in diameter, surrounded by semi- 
circular niches and covered by a dome 
raised on a tambour lighted by eight win- 
dows, and decorated with frescoes by 
Daiiiele da Yolterra. A small square 
chapel opens from the rear of the choir, 



143 



FLORENCE 



which contains the tomb of John of Bo- 
logna. In the choir are many sculiitures 
and paintings by famous masters. On 
the north side of the cliurch is a square 
cloister surrounded by vaulted arcades on 
Corinthian columns. 

SS. Apostoli, an ancient church of 
uncertain date, but known to be anterior 
to the XI cent., and said to have been 
founded early in the ix by Charlemagne. 
It is a small basilica, about 90 ft. long and 
53 ft. wide ; the nave,- about 20 ft. wide, 
ending in a semicircular tribune, and 
separated from the aisles by seven round 
arches on each side, spriiiging from Co- 
rinthian columns of serpentine, above 
which is a clerestory with square windows, 
and a round barrel-vault. The aisles are 
vaulted and terminate in square niches, 
and the aisle walls are pierced by arches 
corresj)onding to those of the nave, and 
opening into chapels. The front is painted, 
and has three doorways. The church is 
said by Vasari to have served Brunelleschi 
as a model for San Lorenzo. 

Sta. Croce, after the cathedral the 
largest and most famous of all the Floren- 




Fig. 76. — Florence, Sta. Croce. 



tine churches, was built .' - the Francis- 
cans at the end of the xiii cent., by 
Arnolfo da Lapo, who at the same time 



was architect of the cathedral. It is a 
Gothic cruciform cliurch of enormous 
size, whose length is variously given from 
350 ft. to 490 ft. It has a great nave 60 
ft. wide, flanked by aisles 25 ft. wide, 
from which it is separated by a range 
of seven high pointed arches on each side, 
sj)ringing from octagonal piers with 
plinths and foliated capitals from Avhich 
flat pilasters rise through the clerestory 
to stone corbels bearing the tie-beams 
of the bare oj^en-framed roof. A light 
iron balcony resting on corbels runs at 
tlie base of the clerestory, whose wall is 
l^ierced with a plain two-light pointed win- 
dow in each bay. From each nave pier a 
pointed arch spans the aisle, dividing it 
into bays, each covered by a low gable 
roof at right angles to the wall. In each 
bay is a two-light window similar to 
those of the clerestory. The transept is 
short and narrow, and the nave arcades 
are carried across it with a single higher 
pointed arch on each side, over which the 
gallery jumps awkwardly. From the east 
wall of the transept opens in the centre, 
by a high pointed arch, the short choir, 
covered by a groined vault, and 
ending in an octagonal apse with 
three windows. The choir is 
flanked by flve small square 
vaulted chajsels on each side, 
each opening from the transept 
by a low pointed arch. The 
architecture of the church is 
without interest or merit, the 
interior is cold and bare not- 
withstanding that the windows 
are for the most part glazed with 
good painted glass, notably the 
great round window of the front. 
The interest of the church is 
wholly in its associations with 
the great Florentines who are 
buried here, Michael Angelo, 
Galileo, Macchiavelli, and others, and in 
the frescoes of Giotto, and other great 
painters in the Peruzzi and Bardi and oth- 



144 



BAALBEK— TEMPLE OF JUPITER, NORTH FRONT 



-.%*:■ 



FLOEENCE 



er chapels. On the exterior wall of each 
aisle is a vaulted open arcade of round 
arches, that on the south making one side 
of the great cloister 130 ft. square, connect- 
ing the church with its conventual build- 
ings. From one side of the cloister ojieus 
the Cappella Pazzi {q. v.). Thefa9ade of 
the church was left unfinished until 1863. 
It is of white marble, divided into upright 
rectangular panels by lines of black marble. 
It is in three compartments, correspond- 
ing to the nave and aisles, each covered 
by a gable and flanked by buttresses ter- 
minating in j^iiiiiiicles. A rather thin 
arched corbel-table crosses the whole front 
at the level of the aisle cornices, and a 
similar one follows the rake of the central 
gable. In each division is a fine i)ointed 
arched doorway, the tympanum filled with 
carviuj, surmounted by a crocketed gable 
and flanked by pinnacles. Tlie original 
round window occupies the centre of the 
upper stage. The slender square campan- 
ile with high pointed and gabled belfry 
arches and spire above was finished in 
1805. {See Figs. 67, 76.) 

S. Felice, a singular small Eenais- 
sance Dominican churcli, ascribed in its 
present form to Miclielozzo in 1457, 
but existing from a much older period. 
It is a long rectangle, measuring about 50 
ft. in width and nearly 200 ft. in length, 
without aisles or transept, covered by an 
elliptical barrel-vault. The western half 
is divided in height by a nuns' gallery 
supported on two lines of Tuscan columns 
carrying a groined vaulting. From the 
east end projects a square choir flanked 
by a small square chapel on each side. 
The simple fa9ade has a central doorway 
under an order of Corinthian pilasters and 
a semicircular pediment, and is itself cov- 
ered by a low pediment. 

S. Fraxcesco al Moxte, a xv cent. 
Eenaissance cliurch, of which the design is 
attributed to Cronaca. A bald ill-i^ropor- 
tioned front covers the broad nave and 
narrow aisles of a rectangle about 165 ft. 



long and 76 ft. wide. The nave is about 
126 ft. long and 44 ft. wide, the aisles 
divided into a series of square chapels 
opening behind Eomau arcades in the in- 
tervals of an order of Doric pilasters, car- 
rying a continuous entablature. Above is 
a clerestory faced with similar pilasters 
between which each rectangular window 
is framed in a small order with a pediment. 
The nave is covered by an open trussed 
roof. A square choir opens from the 
nave by a high triumphal arch. 

S. Lorexzo, the church of the Medici, 
occujiies the site and embodies a portion 
of the structure of one of the oldest build- 
ings in Florence. Consecrated by St. 
Ambrose in 393, it was partially or wholly 
rebuilt in the xii century. After suffering 
great injury by fire in the XV cent, it was 
again substantially rebuilt, and on a much 
larger scale, from the designs of Brunell- 
eschi. The work was begun in 1425 and 
completed after his death. The church 
is cruciform, with a length of 254 ft. and 
an extreme breadth of 244 ft. The nave 
and aisles are separated by Corinthian 
columns of stone stuccoed over, carrying 
blocks of entablature from which spring 
round arches, eight on each side, over 
which is a high clerestory with single 
round-arched windows, and a flat wooden 
ceiling, 72 ft. above the pavement, deco- 



rated Math gold and color. 



The crossing 



is bouiuled by four high round arches and 
covered by a square lantern finished with- 
in as a low hemispherical dome 35 ft. in 
diameter, surmounted on the exterior by 
a sqiiare open loggia as large as the lan- 
tern below. The choir and transept 
arms are square and flat-ceiled ; about 
them cluster a series of square chapels, 
each covered by a low round dome. The 
bays of the aisles are domed in like man- 
ner, and flanked each by a shallow rectan- 
gular chapel. At the eastern end of the 
nave stand two rectangular puljiits of 
bronze supported on rich marble columns 
M'ith Ionic capitals, and bearing on their 



145 



FLORENCE 



faces admirable reliefs by Donatello and 
bis pupil, Bertoldo. At tbe angles of tbe 
north and soutli transepts are two sqiiare 




Fig. 77. — Florence, S. Lorenzo. 

1. Cap. del Piincipi. 2. Old Sacristy. 3. New Sacristy. 
Scale of 100 feet. 

sacristies, known as the old and new sac- 
risty respectively, the former built by 
Brunelleschi and richly adorned with 
paintings and monuments ; the latter by 
Michael Angelo, between 1520 and 1534. 
for the Medicean Popes, Leo X. and 
Clement VII., to receive the tombs of 
Giuliano and Lorenzo de' Medici, the son 
and grandson of Lorenzo the ^Magniiicent, 
whose statues and tombs with their asso- 
ciated sculpture are among the most cele- 
brated works of Michael Angelo. Directly 
behind the choir, but not communicating 
with it^ is the octagonal chapel of the Med- 
ici, Capella dei Principi, with recesses of 
various ungraceful forms ojiening from 
four of the sides. It is remarkable rather 
for the richness of its materials than for its 
architectural merit, its walls being quite 
covered with the most costly marbles, 
jasper, porphyry, agate, lapis lazuli, chal- 



cedony, etc., with armorial bearings and 
other devices. It contains the tombs of 
various members of the Medici family in 
red and gray granite, of great magnifi- 
cence. The vaulted roof is covered with 
frescoes painted by Pietro Benvenuto in 
1828-37. The church shows the largeness 
and fineness of proportion which belong 
to Brunelleschi, also the leanness and 
meagreness of his details, esj)ecially of his 
entablatures and cornices. Michael An- 
gelo made a design for the fagade, which 
is still preserved. He only executed, 
besides the new sacristy, the decoration of 
the inside of the front about the main 
doorway. On the south side of the 
church is a large square cloister, from 
which opens the Laurentian Library [q. 
v.). The exterior of the church is with- 
out interest, and is in great measure con- 
cealed by adjacent buildings. The fa9ade 
remains unfinished. {See Fig. 77.) 

Sta. Makia Novella, a Dominican 
Gothic church, begun in 1278 under two 
monks of that order. Era Sisto and Era 
Eistoro ; not finished till the middle of the 
XIV century. Some portions of an older 
church on the same site were retained. 
Its plan is a Latin cross about 320 ft. 
long and 88 ft. wide, with transept 203 
ft. long. The nave is separated from the 
aisles by six high pointed arches on each 
side of unequal widths, springing from 
jDiers whose section, including the vaulting 
shafts, is a quatrefoil. The high clere- 
story is pierced with a single round win- 
dow in each bay. The nave vault is 
groined in square bays. The spring of 
the vaults is below the tops of the main 
arches and the walls above them are 
unbroken except by small round clere- 
story windows high up under the vaults. 
Tlie disposition of the transept is pecul- 
iar, each arm having a double bay corre- 
sponding to the two chapels that flank the 
choir on that side, and at each end a 
large square chapel, one having its floor 
raised above that of the transept, and 



146 



FLORENCE 



approached by a stairway. These cliapels 
are remarkable for their pictorial adorn- 
ment, that of the south transept, called 
the Capella Riicellai, containing the fa- 
mous Madonna of Cimabue, painted in 
1270, with other notable pictures ; that of 
the north transept, the Capella Strozzi, 
leaving its walls covered with frescoes by 
Andrea Orcagna and his brother Bernardo. 



cades. From the larger opens the Span- 
ish Chapel, so-called, a square vaulted 
room built in 1350 and formerly used as a 
chapter-house, the walls and ceiling cov- 
ered with remarkable frescoes by Taddeo 
Gaddi and Simone Memmi. Of the exte- 
rior of the church the fa9ade is the not- 
able portion. It is in two stages, whose 
breadth and height answer to those of the 




tX f if^.fi 



r^^: it^ 



vr^Sfi^ 



Fig. 78. — Florence, Sta. Maria Novella. 



The choir is square and is flanked by two 
square cliapels bordering the transept on 
each side, all decorated with frescoes by 
Ghirlandajo. Lippi, Bronzino, and other 
masters. The choir has a triple window 
filled with good stained glass, dating from 
1-101, and some carved stalls by Baccio 
d'Agnolo. On the north side of the 
church are two cloisters, the larger of 
which had on one side two stories of ar- 



nave and aisles below and the clerestory 
above ; the first stage, composed of a row 
of high blind round arches on engaged 
columns, enclosed in an order of Corin- 
thian pilasters and columns with thin en- 
tablature and high attic ; above which is 
the second stage, consisting of a square 
wall faced with four Corinthian pilasters 
with entablature and pediment, enclos- 
ins a small rose M'indow. Broad scroll 



I-IT 



FLOEENCE 



buttresses at the base of this story con- 
nect it with the lower stage. The walls 
are of white marble divided into panels 
by strips of black marble. To the right 
of this fa9ade the wall is continued by 
the arcaded wall of a cloister, with low 
pointed blind arches on square piers, and 
an ancient tomb under each arch. On 
the north side of the church, toward the 
transept, rises a square cam^Danile, much 
in the Lombard style, terminating in a 
four-gabled pyramidal spire. The fa9ade 
is ascribed to Alberti, who was employed 
to remodel it in 1448. The niches in 
the lower story are doubtless older, and 
it is not clear how much of the fa9ade is 
his design, but perhaps the central door 
and enclosing Corinthian order is his, and 
probably the whole upjier part, which 
gives the first example of the scroll-but- 
tresses (just mentioned) which have found 
innumerable imitators among architects of 
the Eenaissance. (See Fig. 78.) 

SS. MiCHELE E GrAETANO (Capella An- 
tinori), a Eenaissance cruciform church, 
about 80 ft. wide and 160 ft. long, re- 
markable chieiiy for certain peculiar feat- 
ures of the interior design. It has a nave 
nearly 50 ft. wide, covered by a barrel- 
vault and without aisles, divided into 
three narrow oblong bays by round arches, 
springing from square piers faced with 
Corinthian pilasters at each angle carry- 
ing an entablature. On each j)ier, be- 
tween the pilasters, is a shallow square 
recess presumably intended to receive a 
confessional, and above the entablature, 
between the round arches which connect 
the piers, is an arched niche enclosing a 
statue. On each side are three square 
chapels, connected by vaulted passages 
through the piers. The barrel-vault of 
the nave is pierced by high pointed lu- 
nettes, each containing a round - arched 
window. The transept ends are each a 
single rectangular bay with a barrel-vault, 
and from the crossing opens a square choir 
covered by a low hemispherical dome 



without a drum. The church was begun 
in 1604 and finished in 1648. 

S. MiKiATO is one of the most interest- 
ing of Italian churches, not only from the 
beauty of its design, but also as marking 
the period of transition in the xi cent, 
from the basilican to the Eomanesque 
type. Its plan is substantially that of the 
basilica — a simple rectangle of about 70 ft. 
by 150 ft., divided into a nave 30 ft. wide 
between the columns and two aisles. The 
length is divided into three equal parts by 
round arches spanning the nave and aisles 
and springing from high composite col- 
umns which are engaged in grouped piers. 
Each part has three nave-arches on each 
side, resting on lower Corinthian columns, 
evidently the sjDoil of some older building. 
Both nave and aisles are covered with 
wooden roofs resting on tie-beam trusses 
of low pitch. The windowless walls of 
the aisles are unbroken by pilasters or 
other architectural features, except the re- 
sponds of the great nave j)iers ; those of 
the clerestory are pierced by five small 
simple round - headed windows in each 
bay. Of the rear bay, the floor, both in 
nave and aisles, is raised about 11 ft., 
forming a choir ending in a round cen- 
tral apse with a hemispherical vault. The 
side and end walls of the choir aisles have 
simple round-headed windows ; the wall 
of the apse has an arcade of five round 
arches on Corinthian columns, in the in- 
tervals of which are square windows filled 
with thin translucent slabs of veined Ser- 
ravezza marble, which, when the sun is 
shining upon them, admit a soft light to 
the interior. The choir is reached from 
the aisles by two broad staircases of mar- 
ble, and its front is closed by a panelled 
fence or balustrade about 5 ft. high, of 
various marbles, and decorated with great 
richness and delicacy, its frieze containing 
a mosaic of animals and geometrical fig- 
ures. At the right end of the balustrade 
is a pulpit of similar character. Beneath 
the choir, and opening into the nave by 



14S 



FLORENCE 



three broad round arches, is a high cryjit, 
its floor about 4 ft. below the nave, roofed 
with four-part vaulting supported on six 
rows of columns. This church is remark- 
able not more for the simplicity and ele- 
gance of its forms than for the richness 
and consistency of its decorations. The 
walls of the clerestory and apse, 
the spandrels of the great trans- 
verse arches and of the interme- 
diate arches of the nave aw 
ornamented with an inlay of 
marbles of various colors, which 
is repeated, but with greater 
richness, in the mosaic pavement 
of the nave. The semi-dome of 
the apse is adorned with a mo- 
saic, bearing the date 1297, of S. 
Miniato offering a crown to the 
Saviour. Portions of the walls 
of tlie choir retain traces of an- 
cient frescoes. The trusses and 
purlins of the roof are decorated 
with patterns in color and in- 
scriptions. From the left-hand 
aisle opens a small Eenaissance 
chapel dedicated to St. James, 
which is also decorated with great 
richness — a mosaic pavement, 
sculptures by llosselino. the ar 
chitect of the chapel, and in the 
ceiling five admirable medallions by Ijuca 
della Robbia. At the right of the choir is 
the sacristy, a square apartment in the 
Gotliic style, decorated tliroughout Avith 
wall-frescoes by Spinello Aretino represent- 
ing scenes in tlie life of St. Benedict. The 
exterior is of brick, perfectly simple ami 
unadorned, except tlie fa9ade, which is of 
black and white marble and decorated in 
harmony with the interior. The first story 
is an arcade of five round arches, spring- 
ing from Corinthian columns, with three 
square doorways. Over this is a simple 
entablature, on which rises a tall order of 
flat pilasters, surmounted by a low gable, 
and flanked by half-gables answering to 
the aisle roofs. The whole of the wall- 



surface is adorned with geometrical pat- 
terns in black and white marble, and the 
central interval of the second story con- 
tains a large mosaic picture representing 
Christ seated between the Virgin and S. 
Miniato. A square Eenaissance campanile 
of simple design, built in 1519 by Baccio 




d'Agnolo, rises on the left side of the 
church. The first building on this site was 
an oratory dedicated to St. Peter, which 
was replaced in 774 by another church, 
said to have been endowed by Charlemagne 
in nrcmory of his wife Hildegarde. This 
church having become ruinous through 
time and violence, the foundation of the 
present building was laid in 1013 by 
Bishop Hildebrand, who established in 
connection with it a Benedictine monas- 
tery now suppressed, but of which the 
buildings adjacent to the churcli still re- 
main. The front was rebuilt in the xiv 
century. {See Fig. 79.) 

S. Spirito, a Renaissance church, de- 
signed about 1440 by Brunelleschi, but 



1-19 



FLOEENCE 



begun after his death, and finished in 
1481. Its plan is a Latin cross measuring 
about 310 ft. in length and 105 ft. in 
breadth, witli nave and aisles separated by 
arcades of nine round arches springing 
from blocks of entablature over Corinthian 
columns. A continuous entablature sur- 
mounts the arcades, above which is a high 
clerestory with a single narrow round- 
arched window over each of the lower 
arches. The nave has a flat coffered ceil- 
ing. The aisles are divided into square 
bays covered by flat domical ceilings, and 
each has a semicircular altar-niche in its 
outer wall, with a single round-arched 
window. The choir and transept are 
equal arms of the cross, each composed of 
two bays with the aisles continued round 
their ends ; the crossing is enclosed by a 
rich balustrade of marble and bronze. 




Fig. 80. — Florence, S. Spirito. 

within which the high altar stands under 
the dome on a square raised platform and 
covered by a high baldacchino. About it 
are four high round arches carrying on 
pendentives a hemispherical dome with- 



out a drum, pierced by round windows or 
oculi, and surmounted by a round lan- 
tern. A fine octagonal sacristy by Cro- 
naca is joined to the west aisle by a rich- 
ly decorated and vaulted vestibule by San 
Gallo. Adjacent to the church on the 
west are two arcaded cloisters, painted 
with frescoes, and a slender square cam- 
panile by Baccio d'Agnolo. The front is 
covered wjth plaster and painted. {See 
Fig. 80.) 

Sta. Teresa, a curious Eenaissance 
chapel built in 1628 from the designs of 
Giovanni Coccapani, for a convent of 
nuns, and remarkable chiefly for its unu- 
sual plan, a hexagon about 33 ft. in inter- 
nal diameter, with an entrance doorway 
in one side. A shallow transverse vault- 
ed choir with semicircular ends opens 
from the opposite side, and sunk in the 
other four sides are rectangular altar- 
niches. The hexagon is covered by a 
pointed hexagonal dome on a drum, with 
a hexagonal window in each face, and 
crowned by a lantern. 

Sta. Teinita, a xiii cent. Gothic 
church built, it is believed, from the 
designs of Niccolo Pisano, but greatly 
changed in the xvi century. It had nave 
and aisles of five bays, separated by tall 
square piers Avith capitals of unvaried de- 
sign, from which spring pointed arches. 
Aliove the arcade is a high clerestory with 
pointed windows. The nave and aisles 
are groined, the former in oblong bays, 
the latter in square, and the aisles are 
lla-nked by rectangular chapels made ap- 
parently by dividing up the original outer 
aisles. The transept arms have each a 
single groined bay. The square choir was 
built in the xv cent., with its two flank- 
ing chapels on either side opening from 
the transept. The fa9ade was built about 
1593 from the designs of Buontalenti in 
the modern Italian style, with three en- 
trance doorAvays, coupled pilasters, and 
niches containing statues. The campa- 
nile dates from 1395. Attached to the 



150 



FOGGIA 



church is a convent, with a fine cloister 
surrounded by vaulted arcades on columns. 

Uffizi. See Palazzo degli Uffizi. 
FOGGIA, Italy. 

Sta. Maria, an ancient Romanesque 
crucifoi'm church of the xi cent., meas- 
uring about 136 ft. long by 80 ft. across 
the transept, but much clianged by I'e- 
peated restorations. Its most remarkable 
feature is the crypt or lower church ex- 
tending under the whole church, divided 
into two parts by a solid wall across the end 
of the nave, which is pierced by three door- 
ways. The only entrances are in the two 
ends of the transept. The whole is cov- 
ered with groined vaulting on piers with a 
cruciform section, except the square at the 
crossing, where four small columns take 
tlie place of the piers. In each transept 
the east Avail is in the form of a round 
apse, which, however, does not apjiear 
externally. The upper church, of corre- 
sponding plan, was much damaged by the 
earthquake of 1T31, and was rebuilt in the 
style of that period. Here, as in tlie crypt, 
the transept and choir are each in three 
aisles, the former having flat round apses 
in its east wall. The rectangular choir 
l^robably replaced an earlier apse. The 
square fapade is in two stages, of wliich the 
lower is of the original xi cent, church, 
the upper belonging to the Xorman pe- 
riod, late in the xii century. The former 
has a blind arcade of five equal round 
arches, on flat pilasters, the middle arch 
enclosing a modern square doorway M'ith 
plain pointed bearing-arch. Of the other 
arches two have each a two-light window 
with bearing-arch, and two others a circle 
in the arch-head, witli mosaic. The two 
stages are separated by a decorated liori- 
zontal cornice, above which, in tlie centre, 
is a large wheel-window under a pointed 
arch and flanked by coupled columns, and 
at each side a blind arch like those below. 
FOLIGNO, Italy. 

The Cathedral, dedicated to S. Feli- 
ciano, is a rebuilding of the mediteval 



church, of which small portions still ex- 
ist, notably the Romanesque fa9ade of the 
south transept, which appears to date 
from 1201. This has a characteristic 
porch supported by lions, over it a blind 
arcade and a wheel-window under a hori- 
zontal cornice. The rebuilding was under- 
taken about 1512 ; how much it was modi- 
fied by alterations in the xviii cent, is 
not clear. The grandiose plan is a Latin 
cross, measuring about 230 ft. in length 
and about 170 ft. in breadth across the 
transept. The whole interior is encircled 
by a great order of Ionic pilasters 40 ft. 
higli, from whose entablature springs the 
vaulting. The nave, about 45 ft. wide, 
without aisles, is divided by a broad round 
arch springing from coupled pilasters into 
two square bays covered with four-part 
vaulting. The transept ends form each a 
similar bay ; the crossing is covered by a 
high round dome, raised on a drum sur- 
rounded internally by a low order of 
coupled Corinthian pilasters. The choir 
is % single square bay covered by a low 
dome and endiiig in an apse, round with- 
in and octagonal without, whose outside 
dates from the middle of the xv century. 
The exterior is almost entirely concealed 
by surrounding buildings — the unfinished 
west front and the front of the south tran- 
sept above mentioned being tlie only por- 
tions standing free. 
FOXDI, Italy. 

Sta. Maria, the former cathedral, is a 
crnciform church of the second half of 
the XII cent., with a flat Renaissance fa- 
9ade carrying a low pediment between 
two horizontal cornices. There are three 
square doorways, of which the middle one 
is flanked by columns, and covered by a 
semicircular panel charged with figure re- 
liefs. The old Norman tower still stands 
on the north side of the church, in three 
stages, the lowest pierced by a high 
pointed arch on two sides through which 
a street is carried, the upper stories with 
two-light windows, and the whole crowned 



151 



FOSSAKOVA 



by a plain, low octagonal lantern Avitli a 
sharp roof. The interior has pointed 
arches springing from grouped piers and 
wooden ceilings, except the bay at the 
crossing, which has a groined vault with 
pointed arched ribs, and the three eastern 
apses. 
FOSSANOYA, Italy. 

The CiSTERCiAX CoxYEXT is a very old 
monastery, reputed to have been founded 




in St. Benedict's time, but transferred by 
Innocent II. in the xii cent, to St. Ber- 
nard, and by him repeopled with French 
monks from Clairvaux. Kebuilt or re- 
stored in 1135, it was soon after burned 
and again rebuilt, and consecrated in 
1208. The buildings, once inclosed by a 
high wall whose great entrance-lodge still 
remains, are perhaps the best re^jresenta- 
tive that is left of an Italian mediaeval 
monastery. The church, evidently the 
work of French builders, and mostly re- 
built in the pointed style after the fire, is 
of almost purely French Gothic type, 
cruciform, with nave and aisles of seven 
bays, a square-ended choir of two bays in 
the Cistercian fashion, a transept flanked 
by four eastern chapels. It has a single 
square tower, over the crossing, and a sin- 



gle west door — ^both also peculiarities of 
the Cistercian churches. The main ar- 
cades and the vaults are pointed, the piers 
cruciform, with engaged shafts, and the 
vaulting-shafts start from corbels half-way 
up the lower piers. There is no trif orium, 
and the windows of aisles and clerestory 
are round-arched. The single door of the 
front has richly moulded jambs and trace- 
ried tvmpanum. Over it is a handsome 
wheel - window. Evidently a 
triple porch or narthex was 
once carried across the front, 
or at least begun, but it has 
disappeared. Aisles and ga- 
bles are low, but mouldings 
and capitals and other details 
both outside and in are char- 
acteristically French. The 
central tower is octagonal, in 
two stories with twin round- 
arched windows in each face, 
and a pyramidal roof crowned 
by a lantern. Most of the con- 
ventual buildings remain in 
good preservation. In line 
with the eastern wing of the 
transept is the chapter-house, 
rectangular, in six groined 
bays, the vaults carried on two clustered 
piers with French crocket - capitals. In 
the southern angle of the church is the 
cloister, arcaded in groups of arches, three 
and four, round-arched on three sides and 
pointed on the south, with coupled col- 
umns and richly carved capitals of great 
variety. Against the south walk is a grace- 
ful well-house, square, pyramidal roofed, 
and open on all sides through coupled 
round arches. {See Fig. 81.) 
FRASCATI (anc. Tnsculum), Italy. 

AMPHITHEATRE, on the ancient Via 
Tusculana, two miles from Frascati, in a 
depression between two hills. It is ellipti- 
cal, the greater axis, 230 ft., the lesser, 170 
ft. ; the axes of the arena are 157 ft. and 
95 ft. The interior is in ruins, and only 
the substructions and fra2;ments of wall 



152 



GAB ALA 



of reticulated work remain. Excavations 
have disclosed canals through the arena, 
similar to those in the Colosseum, and 
serving to convert the amphitheatre into 
a naumachy. It is presumed to be of 
somewhat late date. 

The ARX or citadel retains many ancient 
remains, especially j^arts of the wall of 
massive squared blocks, like the earliest 
walls of Rome. On the slope of the hill, 
near the theatre, is a grand stretch of the 
old city-wall. The sides of the hill are 
full of chambers or artificial grottoes. 

Koman Theatre, small, but remaining 
comparatively perfect. The cavea has 
nine tiers of seats almost uninjured, and is 
divided into four cunei by radial stairways. 
The stage-structure remains in great part, 
but awaits excavation. The theatre faces 
the west toward a magnificent outlook, 
with Rome and the sea in the distance. 
At the back of the theatre there are ruins 
of a smaller one, })er]iaps an odeum or lect- 
ure-room, the so-culled Cliildren's Tlieatre. 

Villa Aldobkandini, one of the most 
extensive and elaborately designed of all 
the great pleasure-houses of the Roman 
sul)urbs. Like most of tlie suburban vil- 
las, its attractiveness lies mucli more in its 
grounds than in its architecture. These 
are entered from the great square of the 
town. From the lower level of the 
grounds a stately double curving stair- 
case leads to a terrace with semicircular 
ends, some 300 ft. long and 70 ft. broad, 
on one side of which rises the retaining 
wall of the upper terrace, about -ioO ft. 
long, on which the villa stands. Of this 
the fa9ade has a centre about 150 ft. long, 
in four stages, with wings of one story 
somewhat receding. The design, by Gia- 
como della Porta, is quite withoixt merit. 
Behind the palace is a higher terrace 
on a level with the principal story, from 
which a central portico gives entrance to 
the great apartments. This terrace is bor- 
dered by an imposing loggia with a semi- 
circular centre, with broad niches form- 



ing a background for fountains, and be- 
hind, following the abrupt slope of the 
wooded hill, is a most elaborate system of 
cascades. These, which make with the 
other water-works of the estate its chief 
features, were designed by Giovanni Fon- 
tana and Orazio Olivieri. The villa was 
built about 1598 under Clement VIIL, by 
his nephew. Cardinal Pietro Aldobran- 
dini. 

Villa Moxte Dragone, an enormous 
country-house built about 1567 by Martino 
Lunghi for the Cardinal Altemps, nephew 
of Pius IV., enlarged by Gregory XIII., 
and completed and embellished for Paul 
V. and his nephcAv, Cardinal Scipio Bor- 
ghese, by Flaminio Ponzio and Giovanni 
Vasanzio. It has been called the largest 
and most magnificent of all the suburban 
houses of Rome. The main palace meas- 
ures about 320 ft. in length by 108 ft. in 
breadth, and is of two stories, ratlier 
clumsy in design, with a great square 
court behind, closed on one side by a 
long gallery decorated with paintings, 
and on a third side by a long suite of 
aj^artments in two stories. Behind this 
again is a semicircular terrace. At the 
fourth side of the great court, but on a 
lower level, is a large rectangular garden 
enclosed by walls, with an arched entrance 
loggia in front, and at the back an ele- 
vated terrace approached by a double 
flight of steps, having in the centi'e a 
semicircular basin and fountain, and en- 
closed by a semicircular wall decorated 
with an order of Ionic pilasters with great 
niches in the intervals, the whole disposi- 
tion of great elegance and on a scale of 
unusual grandeur. The Villa was long 
abandoned, biit came finally into the 
hands of the Jesuits, who established a 
school there. 
GABALA. See Jebeleh. 
GADARA (Mkes), Pera^a, Palestine. 

Colojtkaded Street, as at Palmyra, 
Gerasa, etc. The shafts are monolithic ; 
many of the bases remain in place. The 



153 



GAETA 



street is paved with slabs which bear the 
marks of chariot-wheels. On the west 
side of the city, on an elevation, are con- 
siderable remains of a stoa or portico in 
good masonry ; many of the column bases 
are still in position. Near by there is a 
range over 700 ft. long of small parallel 
chambers, and beyond, the ruins of a fine 
columnar structure in basalt. 

Necropolis, on the slopes to the east 
of the site. About two hundred fine 
sarcophagi of basalt remain, besides many 
that are broken, sculptured with garlands 
and busts of Apollo and other divinities. 
There are also many rock-tombs. Some 
of the massive doors still swing on their 
original stone pivots, and some of the 
chambers contain sarcophagi. 

Large Theatre, east of the city, not 
far from the necropolis. It is entirely 
built up of basalt, not supported against 
a side hill, and is in good preservation and 
very handsome. There is in the audito- 
rium a precinction or horizontal gallery, 
arched at the back, and there are vaulted 
substructions. The stage and orchestra 
are buried in rubbish. 

Small Theatre. The upper parts are 
ruined. It rested in part upon a side 
hill, in part on vaulted galleries ; the re- 
mains are in good masonry of large 
blocks. 
GAETA (anc. Caeta), Italy. 

The Cathedral, a cruciform church 
consecrated by Paschal II., in 1106, was 
rebuilt in 1793, and has no interesting 
feature remaining save its square tower 
attached to the wall of the transept. It 
is in four stages — the first of stone Avitli a 
high pointed arch with classic columns 
under the imposts, the three others with 
two-light round-arched windows. The 
stories are capped with cornices, of which 
the third and fourth are enriched with 
friezes of interlacing arches. The tower 
is crowned by a high octagonal lantern 
with a similar frieze and four queer angle 
turrets. 



S. Giuseppe, a small rectangular basil- 
ica, whose origin goes back to the Lom- 
bard period, or the second half of the ix 
cent., but largely rebuilt about 1055 under 
the Normans. Its nave has five arches 
on each side, supported on columns with 
archaic capitals, and ends in a round apse. 
Above the arcade is a high clerestory with 
a small window over each arch ; at the 
middle bay the transept crosses, the nave 
and transept being tunnel-vaulted. The 
arches are round, except two at the 
crossing which are broader than the rest 
and pointed, and are carried up through 
the clerestory. These two, with two trans- 
verse arches across the nave, carry a hemi- 
spherical dome on squinches. The aisle 
bays are groined. The vaults of the 
nave and transept appear on the exterior, 
being uncovered by any wooden roof. 
The exterior has been modernized. 

Torre d' Orlando, the ancient tomb, 
as shown by an inscription, of L. Muna- 
tius Plancus, the founder of Lyons. It is 
a massive cylindrical tower, half a mile 
from the town on the summit of the 
promontory, and forms a very conspicu- 
ous object in the landscape. There are 
also at Gaeta remains of an amphitheatre, 
theatre and temple, and of a villa of 
Hadrian. 
GALLIANO, near Milan, Italy. 

The Baptistery is of singular design 
and irregular construction. It is of two 
stories, of which the lower is in plan not 
unlike that of the baptistery of Biella {q. 
V.) ; a small square with a semicircular 
niche or aj^se opening froin each side, cov- 
ered by a semi-dome. The arches which 
form the openings of these apses spring 
from rude octagonal piers detached from 
the walls, but connected with them by nar- 
roAV arches. A small entrance vestibule oc- 
cupies one apse, from which two winding 
stairs in the thickness of the wall lead to 
the upper gallery. The opposite one is 
a tribune with raised floor and an altar. 
The ancient circular font, cut from a 



154 



GENOA 



single lolock of granite, stands in the 
middle of tlie floor. Upon the four great 
arches the sqiiare wall of the central por- 
tion of the building is carried up, with 
two round-arched windows in each face 
opening under irregular vaults over the 
four apses below. Over the eastern apse 
is a chapel like the tribune below it, and 
with an altar. Above the vaulted spaces 
the plan of the central wall is changed to 
an octagon by squinches in the angles, 
sup23orting an octagonal dome with a low 
conical roof, under which are four plain, 
round-headed, two-light windows. The 
roof covering is everywhere of slate laid 
directly on the masonry of the vaults. The 
baptistery is considerably earlier than the 
cathedral, and is thought to date from 
about 850. 

S. Vicente is an ancient and simple 
basilica, with nave and aisles covered with 
wooden roofs, and ending each in a round 
ajDse, of which the central one has a high 
raised floor with a vaulted cr}^t beneath. 
An ancient pulpit stnuds in front of the 
tribune, and tlic renuiiiis of the original 
frescoes are still to be traced on the walls 
of the tribune and crypt. An inscription 
seems to indicate that the church was 
built in the first years of the xi century. 
GENOA (Genova, Genes), Italy. 

Albergo DEI PovERi. This great 
almshouse, one of the largest in Eu- 
rope, founded in 1G,")4 by Emanuele 
Brignole, was built by Antonio Conradi 
and Girolamo Gandolfo. It is a great 
quadrangle some 500 ft. square, divided 
by cross-wings into four courts. In the 
middle is a church 115 ft. long, from 
which the cross-wings radiate. This has 
a nave and round choir decorated with an 
order of Corinthian pilasters, over the 
choir a dome on a high drum, and over 
the nave a barrel-vault. The plain three- 
storied exterior is broken at the corners 
by pavilions, and the front by a projectiiig 
centre terraced up from the valley before 
it with high steps. 



The Cathedral, dedicated to S. Lo- 
renzo, is a Gothic church dating from the 
XII cent., built on the foundation of an 
earlier church, of which some portions 
still remain, restored some two hundred 
years later, and subjected to substantial 
changes in the xvi century. Its three 
western doorways open into an entrance 
porch in three bays covered by gi'oined 
vaulting, over which is a gallery opening 
into the church, built for the use of the 
Doge. The nave and aisles (the latter of 
iinusual breadth and height) are separated 
by large columns of veined marble with 
Corinthian capitals, carrying pointed 
arches, above which, on a continuous 
band bearing an inscription, is a fine 
upper arcade of coupled round arches 
divided by short columns, the bays sep- 
arated by square piers, all the masonry, 
including the columns and voussoirs, being 
banded in white marble and dark-green 
serpentine. This arcade probably corre- 
sponded to an upper story in the aisles 
wliose floor was removed. Above it is a 
bare clerestory, with plain square win- 
dows. The nave is covered with a barrel- 
vault. The aisles, carried up to the base 
of the clerestory wall, are covered by 
groined vaulting. The crossing is cov- 
ered by an octagonal lantern, built in 
1567 ; the transept arms are groined and 
do not project beyond the aisle walls. 
Tlie choir, which is modern, has a single 
narrow bay, and an apse, flanked by a 
smaller apse on each side. A continuous 
line of chapels opens from the south aisle, 
and an irregular series from the north 
aisle, among which the most conspicuous 
is that of St. John the Baptist, octagonal 
in plan, originally contemporary with the 
church, but rebuilt in the xiv cent, and 
again in the xvi, and separated from the 
church by a rich cinquc-cento screen. The 
exterior is of white and dark marble in al- 
ternate courses. The fa9ade, built at in- 
tervals during the whole xii cent., had 
it been completed, with its two flanking 



155 



GENOA 



towers and its central gable with a great 
wheel window, must have been one of the 
finest in Italy. The lower portion con- 
sists of three magnificent portals, deeply 
splayed, the jambs and arch-heads deco- 
rated with shafts of various forms, with 
sculpture and marble inlay, with more of 
the character of the northern Gothic than 
is often found in Italy. Over the side 
doorways is a triple arcade of pointed 
arches on coupled columns, each arch 
containing a two-light window. But in 
the remainder of the front, with the ex- 
ception of the central gable and its wheel 
window, the Gothic character is lost ; the 
northern tower is unfinished ; the south- 
ern, completed in the xvi cent., and 
rather Renaissance than Gothic, ends in a 
belfry stage with two mnllioned windows 
in each face, crowned by an octagonal 
lantern. The church has a noble early 
side doorway of Lombard character, with 
extremely interestiug sculpture. {See Figs. 
82, 83.) 

Loggia de' Ba^s'chi (The Exchange), 
a rectangular building of a single story. 




Fig. 82.— Genoa, Cathedral, Porches. 



measuring about 60 ft. by 105 ft., re- 
puted to have been the work of Alessi in 
the last quarter of the xvi cent., but as- 



cribed by some to the xviii. One side 
and one end consist of an open arcade on 
coupled Doric columns carrying blocks of 
entablature from which the arches spring, 
and surmounted by an attic. The same 
architecture is carried around the building, 
the arches on the other sides being walled 
in. The interior, undivided by piers or 
columns, has a high coved ceiling under a 
wooden roof without tie-beams. 

OsPEDALE Di Pammatoste, the great 
Hospital for Incurables, is one of the 
largest and one of the finest in Italy. It 
was originally a private foundation by 
Bartolommeo Bosco, a lawyer of Genoa, 
who built from the designs of Orsolino a 
palace covering an area about 182 ft. by 
330 ft., Avith a spacious vaulted entrance- 
hall leading by a broad straight staircase 
in the centre to a grand court about 65 
ft. by 120 ft., surrounded by a simple ar- 
cade on Doric columns of white marble, 
beyond which is a stately double staircase. 
The architecture is simple, but the vesti- 
bule, court, and staircases have the charac- 
ter and scale of those of the great private 
palaces of Genoa. Perhaps the 
earliest attempt at hospital ven- 
tilation is to be seen in this build- 
ing, fresh air being admitted 
from openings in the outside 
walls, and distributed to the 
wards below, through registers 
which can be opened or closed 
at will. 

Palazzo Balbi (called al- 
so the Balbi -Senarega), an in- 
teresting palace built early in 
the XYii cent, by Bartolommeo 
Bianco. Its internal disjDosition 
is extremely effective ; a com- 
paratively simple square en- 
trance-hall leading to a vaulted 
staircase hall, and beyond to a 
noble square court surrounded 
by three stories of vaulted arcades on Doric 
columns. Beyond this again is a formal 
garden flanked on one side by an arcade 



156 



GENOA 

supporting two stories of building, and usual elegance. Its faQade is in three 
terminating in a circular exedra enclosing divisions, of whicli tlie middle one is 
a magnificent fountain with niches and slightly recessed, and in two principal 




Fig. 83 —Genoa Ca'h. 



statues beliiiul iin arcade. 'Plie palace has 
u fine suite of state apartments richly 
decorated with ])aintings by Genoese ar- 
tists, and containing one of the best col- 
lections of pictures in (icnoa, including 
examples of Titian, Vandyck, Eubens, 
Tintoretto. Caracci, Michael Angelo and 
other masters. 

Palazzo Balbi-Dukazzo. Sec l^al. 
Dnrazzo. 

Palazzo Biajsm.'0. See Pal. Urimaldi. 

The Palazzo Brignole, one of the 
smaller of tliose attributed to Alessi, is 
distinguished bv some features of un- 



stories witli a mezzanine between, and a 
projecting cornice crowned by a balus- 
trade. In the centre division a group of 
three openings, the middle one arched, 
the others square, gives access to a square 
vestibule, from which a short stair, as- 
cending through a triple - arched screen, 
leads to an oblong court, divided by two 
rows of Doric columns into square vaulted 
liays. T'he side walls are decorated with 
niches enclosing statues, and in one opens 
a fine staircase, of which the landing in 
the upper story is extremely effective. 
The Palazzo Bkigxole-Sale, to which 



157 



GENOA 




Fig. 84. — Genoa, Pal. Doria-Tursi. 



a central doorway and three windows on 
each side, with pedimented caps, the sec- 
ond and third faced with Ionic and Co- 
rinthian pilasters respectively, with win- 
dows in the intervals similar to those 
below. A large cornice terminates the 
front, with consoles and square windows 
between. The palace was built by Galeaz- 
zo Alessi, late in the xvi cent, and after- 
ward considerably altered, especially with- 
in, by Castello. 

Palazzo Doria-Tursi, a large and 
imposing palace, built after 1550 from the 
designs of Eocco Luzago, and now occu- 
pied by the offices of the municipality of 
Genoa. It has a spacious but rather 
simple entrance-hall, and a broad stair 
ascending to a grand court with two 
stories of surrounding arcades and a great 
staircase beyond. The faQade is in two 
stages, each comprising a principal and a 
mezzanine story within an order of pilas- 
ters. In the lower stage the pilasters are 
rustic and the windoAV-facings ratlier ro- 



the designation rosso is given because its 
fa9ade was painted red. was built in the 
XVII cent., and hasaboldly treated central 
front of about 93 ft. between two lower 
wings, which are probably additions, and 
a depth of 117 ft. It has a large and 
rather simple entrance-hall, with a plain 
staircase opening from the side. Beyond 
is a fine square court, with two stories of 
arcades supporting a third story of flat 
wall. The palace contains what is con- 
sidered to be the finest collection of pict- 
ures in Genoa, and was with all its treas- 
iires given to the city in 1874 by the 
Duchess of Galliera, the descendant of 
the Brignole family. 

Palazzo Carega, one of the smaller 
palaces of Genoa, covering an area about 
88 ft. by 120 ft., but interesting from its 
rather unusual plan, its fine fa9ade, and 
the rich decoration of its entrance-hall 
and the gallery over it. Its front is in 
three stages, the lowest a plain wall with 



^y/A 



T=^ 



^ I 



^'a' 



i 



^T-^ 



1 ' s&, ^^ 






inoa Pal Do a Tuis Court 



15S 



GENOA 



coco. A Doric console-corniccione finishes 
the faQade, which is extended on each 
flank by an ojien arcade of tlie height of 
the lower stage, raised on a terrace wliich 
is continued still farther, its whole length 
being about 350 ft. The arcades of the 
wings mask gardens at the level of the 
great court. {See Figs. SJf, 85.) 

The Palazzo Ducale (Ducal Pal- 
ace), still retains its original designation 
as the residence of the Doges of Genoa in 
the XVI cent., though its uses are now 
rather those of a city hall and a court 
house. The buildings are very extensive, 
covering an area measuring roughly 300 
ft. by 350 ft., enclosing a great court 
about 150 ft. square, at the base of which 
is the entrance to the principal apart- 
ments. A central door gives access to a 
fine entrance hall 50 ft. broad and 130 ft. 
long, with a vaulted ceiling, suj^ported on 
eighty columns of white marble. From 
the middle of this splendid hall rise the 
stairs to the second story, and at the ends 
are open courts enclosed by two ranges of 
vaulted arcades. Over the entrance hall 
is a hall of the same size and of even 
greater magnificence, the walls decorated 
witli an order of Corinthian columns and 
pilasters of brocatello with entablatures 
and pediments of yellow marble, with a 
balcony above and a domed and richly 
panelled ceiling, the height being some- 
thing over GO ft. The facjade of this por- 
tion of the building, making one side of 
the great court, is about 135 ft. long, 
showing a high basement story with mez- 
zanine, included in an engaged order of 
coupled Doric columns with rustic wall 
and plain square windows, and an arched 
doorway in the middle interval. Tlie prin- 
cipal story has a corresponding order of 
engaged Ionic columns, and square-headed 
windows with caps straight and pediment- 
ed. The entablature is richly adorned 
and is crowned with an attic. 

Palazzo Durazzo (known also as the 
Balbi-Durazzo, and as the Durazzo-Pal- 



lavicini), the smaller of the two palaces 
bearing the name of the Durazzo family 
in Genoa. It consists of a central rec- 
tangular mass about 105 ft. broad and 
130 ft. deep, with lateral extensions from 




Genoa, Pal. Durazzo. 



front and rear. Its principal feature is an 
imposing entrance-hall in the centre of the 
front, about o'Z ft. by 50 ft., with a short 
staircase occupying its full width, divided 
into three bays by Doric columns support- 
ing a groined ceiling, and leading to a 
square court surrounded by vaulted ar- 
cades, the vista from the entrance hall 
through the court being closed by a sort 
of exedra, with a niche at its base enclos- 
ing a statue. From a corner of the court 
opens a staircase hall decorated with much 
richness and elegance, and covered with 
a barrel-vault. The fa9ade, absolutely 
simple in point of detail and ornament, is 
effective from its extent and the disposi- 



169 



GENOA 



tioii of its joarts. It is nearly 200 ft. long, 
in two stages, eacli including a liigli story 
with mezzanine. Its centre is crowned by 




Fig. 87. 



stairway in Court. 



a corniccione supported on consoles, and its 
wiiigs continue in the lower stage the de- 
sign of the centre, while the upper stage 
consists of an open arcade of three round 
arches supported on Doric columns, with 
balustrade between. The palace was 
built, it is said, in tlie xvii cent, for the 
Balbi family, by Bartolommeo Bianco. 
The staircase is attributed to Tagiiafico. 
{See Figs. 86, 87.) 

The Palazzo Grimaldi, or Palazzo 
Bianco, was built after the middle of the 
XVI cent, from the designs of Alessi, with 
a rather simple front of something over 
100 ft., and spacious vestibule leading to a 
court about 30 ft. square, enclosed by two 
stories of arcades on Doric columns, the 
lower divided by cross arches into square 



bays, each covered by a low decorated 

dome, the upper covered by a continuous 

barrel -vault. A fine vaulted staircase 

opens from the extremity of one 

of the arcades. 

The Palazzo Lercaei (also 
Parodi), though comparatively 
small has interesting features. 
The main building is a rectangle 
measuring about 100 ft. on the 
front, and about 50 ft. in depth, 
with a square vestibule in the 
centre and a fine staircase open- 
ing from it. From the angles two 
wings advance to the street, en- 
closing a court about 42 ft. square 
surrounded by an arcade, and 
closed on the front by a wall of 
rustic masonry on the first story, 
with a doorway in the middle 
between four windows, sur- 
mounted by an open vaulted log- 
gia of great elegance flanked by 
enclosed pavilions, which have an 
open third story. The principal 
rooms have some delicate orna- 
mentation in stucco. The palace 
was built toward the end of the 
XVI cent, from the designs of 
Alessi. 
Palazzo del Municipio. See Pal. 
Doria-Tursi. 

Palazzo Negroni, a small palace of 
which the architect is unknown, but in 
plan and design similar to most of those 
from the hand of Alessi. In ^ the centre 
of its front of about 76 ft. three grouped 
openings, the centre one marked by a 
small portico of Doric columns, lead to an 
oblong vestibule from which a short stair 
ascends through a triple arcade to an ob- 
long court surrounded by two stories of 
arcades, at the farther end of which is 
an elaborate nympheum in three bays of 
the full breadth of the court. The great 
double staircase deserves notice. 
Palazzo Parodi. See Pal. Lercari. 
The Palazzo Eeale, formerly belong- 



160 



G-ENOA 



ing to the Durazzo family, but which be- 
came the property of the King of Sardinia 
in 1815, is one of the largest and most im- 
posing of the Genoese palaces. Tlie cen- 
tral building is about 112 ft. square, with 
two wings projecting toward the rear en- 
closing a court without much splendor', 
and two lateral wings from the front, in- 
creasing tlie fa9ade to a length of some- 
thing over 300 ft. The entrance vestibule 
and inner staircase hall are as usual the 
chief internal features ; tlie former is in 
this case flanked by two arcaded galleries 
over the side walls. There is a second 
court behind the right wing of the fagade. 
The palace was begun in the middle of 
the XVII cent, by Angelo Falcone : the 
main entrance, added by Fontana fifty 
years later (1705), has put the rest of 
the facade out of countenance. 

Palazzo Kosso. See Pul. BrignoU- 
Sale. 

S. Agostixo. a Gothic church of the 
XIII cent., and one of tlie few churches 
of that age in Genoa which retain their 
original features substantially un- 
cliangcd. It has a simply designed west 
front in three divisions, divided by i)i!- 
aster- strips ending in arclied corbel- 
tables ; the raised centre division has a 
square doorway under a pointed liear- 
ing-arcli, with a round window above 
and a low gable. The side divisions, 
following the outline of tlie aisle-roofs, 
have each a single pointed-arched win- 
dow, now walled up. The masonry is 
in alternate courses of white and dark 
marble. The square tower is of brick, 
its two upper stages with grouped point- 
ed windows, and is crowned with an oc- 
tagonal spire with scjuare pinnacles at 
the angles. 

S. Ambrogio, or the Chiesa di Gesu, 
a Renaissance church built in 158'.i. with 
an unfinished fac/ade begun in IGljSt by 
the Jesuit father Valeriani. It is cruci- 
form, with a central dome, nave, and deep 
square -ended choir, each in two bays. 



and a transept with one bay in each arm. 
The front shows three plain doorways in 
the intervals of an order of coupled Co- 
rinthian pilasters. A like order of single 
pilasters adorns the interior, where the 
arms of the cross are covered by barrel 
vaults, and the aisles, lined Avith shallow 
chajjels, by domes invisible from without. 
The whole interior is rich, after the Je- 
suit fashion, with mosaics, j)aintings, and 
gilding. 

Sta. AxifUNZiATA. One of the most 
conspicuous of the Genoese churches, 
built toward the end of the xvi cent., 
from the designs of Giacomo della Porta. 
Its plan is a rectangle about 110 ft. wide 
and 205 ft. long, with a nave and short 
transept covered by continuous barrel- 




Genoa, Sta. Annunziata. 



vaults, and aisles by a series of flat-domed 
ceilings with a low dome at the crossing. 
Xave and aisles are separated by a rich- 
Iv decorated arcade, of which the arches 



161 



GEXOA 



spring from Corinthian columns of white 
marble and are surmounted by a full en- 
tablature, also richly adorned and con- 
nected with the columns by i^anelled pi- 
laster strips. The vault of the nave is 
pierced by lunettes containing square win- 
doAvs, and the projecting choir ends in an 
apse. Each aisle is flanked by a line of 
rectangular chapels. The materials of 
the interior are of great richness, the 
walls being lined throughont with va- 
rious marbles arranged in geometrical 
patterns, and the ceilings everywhere dec- 
orated with paintings. The fa9ade is of 
brick and is unfinished, with the excep- 
tion of a projecting Ionic portico. {See 
Fig. 88.) 

St. Cyrus. See ;S'. Siro. 

S. DoxATO, an ancient Lombard church 
dating from about 1000, but somewhat 
changed a century later. It has a nave 
and aisles separated by columns partly 
antique and of various marbles, with rude 
capitals carrying round arches, a transept, 
and choir. The crossing was originally 
covered by a low dome, which was re- 
placed by an octagonal tower in two 
stages with grouped windows and arched 
corbel-tables. The lower part of the fa- 
9ade is Lombard work with a characteris- 
tic early doorway bearing date 1108 ; the 
upper later, with pointed arches and 
banded masonry. 

S. GiovAN-J?"! Di Pre, or del Prato. A 
Gothic church, dating in its present form 
from early in the xii cent., but with some 
portions remaining of the original build- 
ing of a century earlier. It has a nave 
and aisles, a transept not projecting be- 
yond the aisle walls, an apsidal choir, and 
an open, arcaded porch on the south side, 
flanked by a square campanile with grouped 
windows in the upper stages, and an oc- 
tagonal spire with corner pinnacles. The 
ground, falling away south and west, gives 
opportunity for a pointed arcade under 
the south aisle, which affords an entrance 
to the crypt of tlie xii cent, that extends 



under the choir and apse, and is now used 
as a warehouse. 

Sta. Maria di Carigxaxo, a Eenais- 
sance church built about the middle of 
the XVI cent., from the designs of Galeaz- 
zo Alessi. Its plan is a Greek cross, with 
its centre covered by a stilted hemispher- 
ical dome about 42 ft. in diameter, with 
liigli drum and cupola, and the four arms 
of the cross with barrel-vaults, the angles 
being filled out by aisles of a single square 
bay covered with low interior domes, mak- 
ing the outline of the plan a square of 
about 170 ft. An order of coupled Co- 
rinthian pilasters encompasses the interi- 
or, supporting the vaults and the arches 
and pendentives of the dome. The choir 
ends in a semicircular apse covered by a 
semidome. The Corinthian order of the 
inside is repeated on the exterior, broken 
on three sides by pedimented gables with 
great lunettes in the tympanums. At the 
corners of the west front are two slender, 
square towers, tall and wide apart, with 




Fig, 89. — Genoa, Sta. Maria di Carignano. 

octagonal lanterns, and in the middle a 
rococo doorway. The drum of the central 
dome has an order of coupled Corinthian 
pilasters, the intervals filled with deep 
arches enclosing large windows. (See Fir/. 
89.) ^ ^ 

S. Matteo. This small cliurch is a 
venerable memorial of the Doria family, 
who founded it early in the xii century. 
The front, added in 1278, is banded in 



162 



GENOA 



black and wliite marble, and shows the 
outline of nave and aisles, ending in an 
ai'caded cornice and central gal3le. A 
large round window imder the gable, and 
a pointed doorway with an old mosaic in 
the tympanum, are flanked by 
two side-windows, and the facade 
is covered with inscriptions which 
tell the glories of the Doria fam- 
ily and the gratiti;de of Genoa. 
The interior, rebuilt in Eenais- 
sance style for Andrea Doria by 
Montorsoli in 1530, has a nave 
and aisles in five bays Avith arches 
supported by marble Composite 
columns. Tlie graceful cloister 
dates from the early xiii cent., 
partly perhaps from tlie xir cent., 
and luis pointed arcades support- 
ed on coupled columns. 

S. SiKO (St. Cyrus), a Eenais- 
sance church of the xvi cent., 
built on the foundations of an 
early Lombard church, the orig- 
iiud cathedral, of wliich scarcely 
anything remains except the tow- 
er. Tlie church was restored in 
1820, aiul now consists of a nave 
and aisles about T5 ft. wide in 
four bays, witli a range of shallow 
chapels opening from each aisle, 
a transept wliicli docs not project 
beyond the aisle walls, and a 
square choir flanked by chapels and pro- 
longed by a round apse. The barrel-vaulted 
nave and aisles are separated by coupled 
Corinthian columns carrying arches. The 
crossing is covered by a round dome. The 
old Lombard tower, banded in light and 
dark stone, has a double belfry-stage with 
two-liglit M'indows in eacli face under a 
round bearing-arch, and is capped by an 
octagonal spire of stone with square angle 
pinnacles. {Sec Fig. 00.) 

Tlie UxiVERSiTY, one of the most mag- 
nificeut of Genoese palaces, was built by 
the Balbi family in 1G43 for the service 
of tlie Jesuits, and was used by them 



until their expulsion in 1773. Its archi- 
tect was Bartolommeo Bianco. It covers 
a space about 13 G ft. wide and 80 ft. deep, 
the greater portion of which is occupied 
bv a noble entrance hall, and the great 




Fig. 90. — Genoa, S. Siro. 

court to which it leads. I'he former is 
about 70 ft. broad and 40 ft. deep, and 
contains a stately staircase flanked by two 
colossal lions at the foot, and leading to 
the court, whose pavement is some 12 ft. 
above the street. This court measures 
about 45 ft. by 80 ft., and is surrounded by 
two stories of vaulted corridors with open 
round arches springing from coupled col- 
umns capped by entablatures, Tuscan in 
the first story, Ionic in the second. Above 
the second arcade the wall of the third 
story recedes by the breadth of the cor- 
ridor. At the farther end of the court is 
a great staircase hall, with a staircase in 



11)3 



GEEAOE 



two wings. The fa9ade in tliree stories, 
set on a high basement, is disposed in 
three vertical divisions of nearly equal 
breadtii ; the middle slightly receding. 
In the centre is a square doorway with 
coupled rustic columns on either side 
carrying an entablature and segmental 
pediment. The windows are all square 
with balustrade courses, and rather rococo 
dressings in the first story — in the upper 
stories simple enclosing architraves, with 
pediments alternately triangular and seg- 
mental. The front is crowned with a fine 
modillioned corniccione. The interior 
contains a library and a natural history 
museum. The halls are decorated with 
frescoes by native painters, and bronze 
statues by John of Bologna. 

Villa (Palazzo) Sauli, formerly Grim- 
aldi. One of the smaller of the Genoese 
palaces, the building itself covering an 
area about 107 ft. wide and 62 ft. deep, 
but preceded by a fine entrance court or 
atrium nearly 60 ft. square, surrouiided 
on three sides by an open arcade with 
coupled Doric columns of white marble 
and entablature, the front of the palace 
making the fourth side, of which the sec- 
ond story is a spacious open gallery with ar- 
caded walls and a richly panelled and dec- 
orated vaulted ceiling. The rear elevation 
on the garden is of great elegance, in tAvo 
stages, each with an order of coupled 
pilasters, Doric below and Corinthian 
above, the lower order enclosing an arcade 
with long windows and square mezzanine 
windows above, the upper order with 
pedimented windows, also with mezzanine. 
A richly decorated entablature with balus- 
trade above it terminates the fagade. The 
palace was built in the second half of the 
XVI cent, from the designs of Galeazzo 
Alessi. 

GERACE. See Locri. 
GEEASA (Jerash), Pergea, Palestine. 

Basilica, north of the junction of the 
colonnaded streets. In the surviving part 
of its walls are three arched windows and 



two square-headed, above which is a range 
of highl}^ ornate broken pediments. One 
Corinthian column of the two ranges of 
the interior is standing, and the semicir- 
cular ajjse or tribune is almost perfect. 

Baths, to the right of the main street 
in the jS'. E. quarter of the town. The 
main building was about 200 ft. square, 
with a colonnade in front. The chief en- 
trance was vaulted, and square vaulted 
wings projected on the north and south 
sides. Portions remain of the aqueduct 
by which water was supplied. 

Forum, of oval plan, about 300 ft. long. 
It was surrounded by a peristyle of Ionic 
columns, of which fifty-eight in detached 
groups still stand, with part of their en- 
tablature. From the forum starts the 
impressive colonnade - bordered street 
which intersected the whole town. About 
one hundred of the columns are still 
standing, some 15 ft. apart ; of many 
more the bases and lower parts remain. 
The height is about 15 ft., but there 
seems to have been, in addition, an open 
gallery above the columns. The chief 
cross-street, intersecting the main street 
at right angles, was also bordered Avith 
colonnades ; four massive bases at the 
junction indicate the presence of a monu- 
mental gateway or tetrapylon spanning 
the two streets with its arches. 

Gate in the walls outside of the town, 
presenting the appearance of an arch of 
triumph. Its width is 82 ft., and the 
height of the central one of its three 
arches is 29 ft. Over each of the side- 
arches is a window-like niche. Tlie col- 
umns on the south side have a sort of 
pedestal of acanthus leaves above the 
bases proper. The date seems to be of 
the time of Trajan. 

Naumachy, more probably a circus, 
near the triple gateway south of the city 
proper, in a hollow between hills. It is 
about 690 ft. long and 300 ft. wide. 
Some of the tiers of seats are in part pre- 
served. Tlie arena is enclosed with g-ood 



GERME 



masonry, and the existence of water-clian- 
nels connecting it with the brook gives 
force to the identification as a naumachy. 

Propyl^a, on the left-liand side of the 
main street, opposite tlie basilica. It is of 
impressive size. The lintel of the great 
portal has fallen. On either side are two 
niches in the wall, with florid broken ped- 
iments. To the north stands a structure 
which may have been a palace. 

Great Temple, probably of the Sun, on 
a large terrace on the west side of tlie 
town. Tlie cella of the temple proper, 
oriented toward the east, is 78 ft. by 60 ft. 
in plan ; its walls are standing on three 
sides. In the side walls there are six ob- 
long niches, and in the back wall a vault- 
ed passage with a small, dark chamber on 
each side. A number of the beautiful 
Corinthian columns of the peristyle are 
still standing ; they are 38 ft. high and 
like those of the Temple of the Sun at 
Palmyra. The temple Avas hcxastyle, with 
two interior ranges of columns before the 
portal. It stood in a large colonnaded 
court, many of the columns of which are 
still erect. 

Temple, on the east side of the brook, 
near the north wall of tlic town. It m'hs 
about 150 ft. square ; part of the wall is 
standing, Avith a vaulted portal, and one 
of tlie interior columns. There is sculpt- 
ured ornament of good execution. 

Temple, on an elevation, left of the 
south gate of the town. Its Avails, 7h ft. 
thick, contain series of niches and win- 
dows. One Corinthian column of the 
peristyle is standing, and bases of otliors 
are in position. There was a double 
range of columns before tlic entrance. 
The interior of the cella was adorned with 
Corinthian pilasters, and tlie roof was of 
stone. The dimensions are about GO ft. 
by 48 ft. 

Large Theatre, close to the southern 
city-wall, near the temple by the south 
gate. It faces the north. Twenty-eight 
tiers of seats are visible, divided into two 



sections by a precinction or horizontal 
gallery, at the back of which are eight 
small chambers, perhaps boxes. There 
was access to the precinction from with- 
out by vaulted passages. The top of the 
auditorium was skirted by a gallery. The 
ornate stage-structure is in great part de- 
stroyed ; it had three portals, the central 
one square, the two at the sides arched, 
and was decorated with niches and Cor- 
inthian columns. The capacity of the 
theatre is estimated at five thousand spec- 
tators. 

Small Theatre, N. E. of the Great 
Temple. Sixteen tiers of seats remain 
visible. Between the tenth and eleventh 
tiers from the top is a horizontal gallery 
Avith six arches in its back Avail, and niches 
between every tAvo arches. BeloAV the 
auditorium A'anlted substructions exist. 
The orchestra and stage are buried ; the 
Avail of the stage was adorned with de- 
tached columns. This theatre was ap- 
proached from the main street by a side 
street bordered Avith columns, at the en- 
trance of Avhich there is a flat-domed te- 
trapi/Ioii or monumental gate, circular in 
plan within and square Avithout. The 
rotunda Avas ornamented Avith statues. 
GERME. See Kremini. 
GIRGENTI (anc. Akragas, Agrigentum), 
Sicily. 

Sta. Maria de' Greci. See TemjjJe of 
Atliena. 

Temple of iEscuLAPius, a Doric edi- 
fice, 30 ft. by 65 ft., whose remains are 
included in the structure of a modern 
house betAA^eeu the ancient southern wall 
and the sea. An anta on the north 
still stands to a height of 17 ft., and one 
of the antfe on the south side is entire. 
The temple had both jn-onaos and opis- 
thodomos in ant is, on a sterobate of four 
steals. Despite its inconsiderable size it 
had a high reputation, and in it was dedi- 
cated a celebrated statue of Apollo by 
Myron. 

Temple of Athena, as it is identified 



165 



GIRGENTI 



witli probability, an important archaic 
Doric temple whose remains are now in- 
corporated in the church of Sta. Maria de' 
Greci, the oldest church in Girgenti. 
The temple was peripteral, hexastyle, with 
thirteen columns on the flanks, on a sty- 
lobate of three steps. Parts of the shafts 
of seven columns are visible on the north 
side, with various other fragments. 

Temple of Castor axd Pollux, or of 
the Dioscuri, within a short distance of 




Fig. 91. — Girgenti, Temple of Castor and Pollux. 



the temple of Zeus, a Greek Doric monu- 
ment of good style. The four columns 
standing, which form the N. W. angle, 
with their entablature and a portion of 
the pediment, were re-erected in 1860. 
The stone is coated with fine stucco, upon 
Avhich color was applied. In plan the 
temple was peripteral, hexastyle, with 
thirteen columns on the flanks on a stylo- 
bate of three steps. The chief dimensions 
are : stylobate, steps included, 51 ft. by 
111 ft.; columns, base-diameter, 3 ft. 10| 
in., height, 21 ft. 2 in.; cella, 18^ ft. by 
79ift. {See Fig. 91.) 



Temple of CoxcoRr), so called, on the 
border of the southern slope of the city, 
the best preserved Greek Doric temple 
except the so-called Theseum at Athens. 
It is of the best time, the v cent. B.C., 
and is of great beauty, though falling 
short of Attic perfection. In plan it is 
peripteral hexastyle, with thirteen col- 
umns on the flanks, on a stylobate of three 
steps. The cella has pronaos and opis- 
thodomos, each with two columns in antis, 
and the entrance is flanked on each side 
by a winding stair which gave access to 
the upper parts of the structure. Both 
pediments survive, though the roof is 
gone, as Avell as all decorative sculpture. 
The columns have twenty channels ; they 
are of rough stone and were coated thin- 
ly, like the rest of the exterior, with fine 
stucco. The stylobate, steps included, 
measures G5 ft. by 138 ft. ; the cella 30 ft. 
by 95 ft. In the xv cent, this temple 
was converted into a church dedicated to 
S. Gregorio delle Eape, and somewhat 
damaged in the conversion ; it was re- 
stored by the King of Naples in the last 
century. 

Temple of Demeter and Perseph- 
OXE, according to the probable identifi- 
cation, a very early monument which was 
converted into the mediaeval church of 
S. Biagio, now itself ruinous. The pro- 
naos is occupied by the apse of the church, 
and a pointed doorway is established in 
the back wall. In plan the temple pre- 
sents a cella with two columns in antis. 
The Avails, which are built of excellent 
masonry, remain almost entire. Tlie col- 
umns and cornices have perished. The 
stereobate, including the steps, measures 
40 ft. by 90 ft. 

Temple of Hera Lacinia (of the 
Lacinian Promontory near Crotona), now 
a very picturesque group of columns at 
the southeastern angle of the ancient 
city. It was Doric, still presenting ar- 
chaic features, and is assigned to the time 
between 500 and 480 B.C. In plan the 



ICG 



GIEGENTI 



temple was j^eripteral, hexastyle, with 
thirteen cohimns on the flanks. The cel- 
hi liad jwonaos and opisthodomos, each 
witli two columns ui anfis. A part re- 
mains of the base of the cult-statue in the 
cella. The columns have twenty channels 
and an echiniis of firm and refined curve ; 
the architrave is higher than the frieze — 
an archaic characteristic. The material is 
a rough stone, which was coated with fi.ne 
hard stucco. The chief dimensions are : 
stylobate, steps included, 04 ft. by I'JO ft. ; 
columns, base - diameter, 4J ft. ; height, 
21 ft. ; cella, 30 ft. by 91 ft. 

Temple of IIehcules, at the edge of 
the southern sloi^e, just inside of the city- 
wall. This structure, one of the most fa- 
mous of the Doric temples of tlie open- 
ing period of full development, is now a 
confused heap of ruins, amid which lie 
capitals, column-drums, 'and members of 
the entablature, all of admirable execution. 
In ])lan it was peripteral, hexastyle. with 
fifteen columns on tlie flanks and an in- 
creased number of steps in fi'oiit. The 
cella had pronaos and (ii)isthodomos, each 
with two columns I'j/ diitis ; the lower 
portions of the former are still standing. 
Examples of tlie interesting polyclirome 
decoration of this temple are in the mu- 
seum at Palermo. Tlie chief dimensions 
are : stylobatc, including steps. !)0 ft. by 
241 ft."; cella. 4.-) ft. by 150 ft.; height of 
columns, 32f ft., which is a little more 
than four and a half diameters. Tlie cyma 
of the cornice had a sheathing of terra- 
cotta with lion -heads as antefixes, and 
adorned with anthemia and palmettos in 
relief and colored. In this temjile was 
the famous statue of Hercules whose at- 
tempted theft by Verres was the subject 
of Cicero's denunciation. 

Temple OK Vulcan, so-callt'd, a Uoinau 
monument at tlie S. W. angle of the 
ancient city. Portions of two fluted col- 
nmiis are standing, and parts of tlie ceUa 
walls. 'I'hc columns have twenty flutes 
and stand on stpiare plinths; their base- 



diameter is 4| ft. The ground plan meas- 
ures G3 ft. by 125^ ft. ; the stylobate has 
three steps. 

Temple of Zeus, at the western ex- 
tremity of the southern slope, a huge 
monument which counts among the most 
notable examples of the Doric style. It is 
pseudo- peripteral in jflan and lies in a 
confused heap of ruins. The plan is ab- 
normal in that it presents an uneven 
number of columns, seven, on the fronts ; 
there are fourteen en each flank ; to the 
semi-columns of the exterior corresponded 
pilasters in the interior. In the interior 
ranges of huge atlantes above the pilas- 
ters supported the roof -beams. The fronts 
are restored, with doors in the second inter- 
columniations from each angle. Diodorus 
Siculus informs us that the eastern pedi- 
ment was filled with a sculptured Giganto- 
machy, and the western Avitli the fall of 
Troy, both in high relief and much ad- 
mired. As usually restored the temple jDre- 
sents a long central cella or ojien court ; 
but it has been very plausibly suggested 
that it may have been a double temple with 
a central longitudinal division, like the 
so-called Basilica at Pa^stum. In date it 
falls between tlie victory at liimera, in 
480 B.C., and the taking of Akragas by 
the Carthaginians in 400. Its scale is 
enormous. The stylobate, steps included, 
measures 182 ft. by 303 ft.; the height of 
the semi-columns was 55 ft. A considera- 
ble part of the ruins was used in the xvi 
cent, in the building of a mole for the port. 

Tomb of Therox, so-called, a nonde- 
script structure of much later date than 
'I'heron. lying a short distance outside of 
the city-walls, to the south. It belongs 
to the second period of Akragas (405 to 
200 B.C.), and no doubt to the end of 
that period. It is of two stories : in the 
u])])er story a fluted Ionic column with 
angle-capital, at each corner, suj^ports a 
Doric ontablatuiv. 'I'he lower stage is 
])Iain, V't ft. square, with a projecting cor- 
nice. There are blank windows in two 



gjOlbaschi 



of the faces of the upper stage. There 
was no door ; that now existing on the 
south side is modern. The height to the 
top of the frieze (tlie cornice is gone) is 
25 ft. 

GJOLBASCHI (anc. Trysa), Asia Minor. 
Greek Mausoleum, explored since 
1881 by tlie Austrian Government. It 
consists of a large rectangular enclosure 
about 65 ft. by 88 ft., in admirable ma- 
sonry of horizontal courses of limestone. 
Its chief impoi'tance lies in the very exten- 
sive and remarkable sculptured friezes with 
which its walls were adorned, both inside 
and out. These sculptures form the most 
important series of ancient relief surviv- 
ing, except the friezes of the Parthenon, of 
Phigaleia, and of the Mausoleum at Hali- 
carnassus. While inferior in execution to 
the Panathenaic Frieze, they are superior 
in interest and variety of subject and in- 
cident to both the other friezes. The 
subjects include a very importajit repre- 
sentation of the story of Troy, evidently 
inspired by some other than the Homeric 
account, a combat of Centaurs and La- 
piths, hunting scenes, incidents from the 
Odyssey, the hunt of the Calydonian 
boar, and banqueting and dancing scenes. 
These last were appropriately placed in 
the interior, which was evidently arranged 
for holding funeral banquets and cere- 
monies of kindred nature. The work is 
cei'tainly not Lycian ; it is safe to assume 
that it is by sculptors of Athenian train- 
ing, and in date not far from 430 B.C. 
The south wall was the only one which 
bore a frieze on the exterior ; in this wall, 
too, was the door. The lintel bore on the 
exterior four heads of winged bulls and a 
Gorgon-head ; on the interior a range of 
grotesque figures, resembling the Egyp- 
tian Bes, with musical instruments. The 
interior jambs bore large dancing figures. 
Tiiese decorations of the door form al- 
most the only trace of oriental influence 
that can be made out in the monu- 
ment. Around the interior were ranged 



sarcophagi. The precious series of sculpt- 
ures is, since 1883, in safety at Vienna. 
GOETYNA, Crete. 

Pythion", or Temple of Apollo, an early 
Greek foundation, modified about the iii 
cent. B.C. by the Greeks, and at a some- 
what advanced imj)erial date altered and 
in |)art rebuilt by the Eomans. The ori- 
ginal structure consisted merely of a cella 
of Poros stone, facing the east and wider 
than deep. To this was prefixed during 
the Hellenistic epoch a Doric closed pro- 
naos — hexastyle, j)seudo - prostyle, rising 
from a stylobate of three steps. A base 
of two steps, besides the plinth - course 
{entliynieria), surrounded the three other 
sides. The semi-columns were 3J ft. in 
lower diameter, and five and a half diam- 
eters high ; the intercolumniation (cen- 
tre to centre) was 11| ft., those at the 
angles being eight inches less ; in every 
intercolumniation there rose a square pil- 
aster or buttress, apparently designed for 
the inscribing of laws placed under the 
guard of the god ; such laws Avere in- 
scribed also on all the exterior walls. The 
frieze was disposed on the ditriglyph prin- 
ciple. The cyma of the cornice was or- 
namented with lion-heads ; the pediment 
was crowned with an elaborate acanthus 
acroterium of Corinthian character. The 
Eomans pulled down the Greek cella and 
rebuilt it with the same materials, but 
with the use of cement, and formed in the 
back wall an apse 21 ft. wide. The new 
cella had two interior ranges of three un- 
fluted Corinthian columns, and in each 
side a rectangular niche. It was encrust- 
ed altogether or in part with slabs of white 
marble. The dimensions of the temple 
were 61 ft. by 83 ft. ; of the pronaos, 55 
ft. by 20 ft. ; of the cella, 53 ft. by 47 ft. 
An altar of Eoman date stood before the 
temple. A number of votive statues of 
good workmanship were found in the exca- 
vations, among them an Apollo, undraped 
ephebes, female figures, the head of a 
priest, and the torso of an emperor. 



168 



GEADO 



GEADO, Venetia, Austria. 

The Cathedral is a basilica of mod- 
erate size, about 70 ft. by 160 ft. over 
all. It has a nave about 30 ft. wide, of 
eleven rather narrow bays, round-arched, 
one apse round within and joolygonal 
without, and single aisles. In front of 
the fa9ade, which is somewhat oblique to 
the axis, is a wide open porch or narthex, 
one end of it filled up by the campanile, 
which stands against the south aisle. The 
pillars of the nave are Eoman shafts 
with ill-fitting cajiitals, some of which are 
Eoman, others of fine Byzantine work- 
manship, and some iindecipherable. The 
walls are plain, and the former round- 
arched clerestory windows are replaced by 
late lunettes. The slab tracery of one of 
the original aisle windows, iweserved in 
the sacristy, is of interlacing bands in con- 
crete, and similar tracery, tradition says, 
once filled tlie clerestory. The church 
Avas floored with a rich mosaic of colored 
marble, of whicli a considerable part still 
remains. At the end of the apse is the 
marble patriarcluil cluiir, a comjiosite of 
old Byzantine fragincnts. T'he very sin- 
gular marble pulpit is of two periods; the 
body of it, Byzantine, is a six-foiled cir- 
cle in plan, like one of those in S. Mark's 
at Venice, resting on six marble columns, 
aiul carrying a canopy, Saracenic in style, 
with cusped ogee arches, and a checkered 
dome wliich, however, is of painted brick. 
The baptistery is a plain detaclied octa- 
gonal building with an eastern apse. An 
inscrijition in the mosaic pavement com- 
memorates the rebuilding of the churcli 
by the patriarch Elias (571-58C), and the 
existing churcli may very well be that 
which he built. 
GEAYEDONA. Italy. 

Baptistery of S. Giovanni Battista 
(8t. John the Baptist), an interesting ex- 
am])le of a class of buildings very char- 
acteristic of the architecture of North 
Italy in the \i and xrr cents., and of 
which Florence, Pisa, and Parma on a large 



scale, and JSTovara, Asti, and Biella on a 
small, furnish notable instances. That at 
Graved ona is peculiar in being treated 
like a church, with high walls enclosing a 
square of about 40 ft., east and west gables, 
and a lofty western tower ; the usual 
forms being round or polygonal. On the 
two sides and the east end are low round 
apses. From the middle of the west 
front projects a square tower, with a 
round-arched doorway with splayed jambs 
and a plain tympanum. At the line of 
the gable it changes to an octagon of 
three stories, with small grouped round- 
arclied windows in four sides, separated by 
columnar mullions, each story crowned by 
an arched corbel course, the whole termi- 
nated by a low domical roof. The entire 
walls of the building are of white mar- 
ble with stripes of dark limestone. The 
stripes are omitted in the octagonal por- 
tion of the tower. The interior is ex- 
tremely simple, its square being quite un- 
divided and covered by a wooden roof. 
The three apses are roofed by semi-domes, 
and above these on either side is a trifo- 
rium of seven arches. The interior walls 
have been decorated M'ith paintings in dis- 
temper, now nearly obliterated. 
GUBBIO (anc. Iguvium), Italy. 

Tlie Palazzo dei Coxsoli, called also 
the Palazzo del Commune, stands pictu- 
resquely oi')posite the Municipal Palace, 
at the west end of the public square which, 
open to the south, is terraced up from the 
steep side of Monte Calvo. It is like the 
Tuscan municipal palaces in character, a 
high bold mass, its front only broken by 
broad pilasters and S2:)aringly pierced by 
coupled round-arched windows, the whole 
building crowned by an arcaded cornice 
and great square battlements. The south 
front, advancing down hill, is prop23ed 
up on a tall pointed arcade and ends in 
an open loggia of coupled round arches — 
apparently an addition — below the main 
cornice, from Avhich on the angle rises a 
square bell - tower battlemented like the 



169 



HACtIOS 



rest. The palace was built in 1332-4:0 
by Matteo di Giovanello, called II Gatta- 
pone. {See Fig. 92.) 

The ancient Theatre is now excavated 
and in part restored. According to an 




Fig. 92. — ijubbiO, Pal. dei Consoli. 

inscription, it was built by Gn. Satrius 
Ruf us, at a cost of four hundred thousand 
sesterces, for the purpose of celebrating 
in it the triumph of Augustus. It is esti- 
mated that it could seat sixteen thousand 
spectators. 

HAGIOS PHOKAS. Lesbos, .Egean Sea. 
Temple of Dioxysos (Bacchus), a 
small Doric structure with two columns 
in antis, on a height above the sea. The 
workmanship dates it in the first century 
B.C. It is interesting because of some devi- 
ations from the normal Doric, which, as 
they occur also in the neighboring though 
much older temple of Assos, may be taken 
as indications of a local development. 
Thus, the shafts of the columns have but 
sixteen channels, and notably the epistyle 
is sculptured with figure-reliefs. Epistyle 
and triglyph - frieze are formed on the 
same block. The site of the temple is now 
occupied by a chapel of St. Phokas. 



HALIOAENASSUS (Boudroum), Caria, 
Asia Minor. 
Mausoleum or tomb of Mausolus, reck- 
oned in antiquity as one of the seven won- 
ders of the world. It was erected by his 
Queen Artemisia, 352 
B.C., under the direction 
of the architects Satyros 
and Pythis, and with co- 
operation of the sculpt- 
ors Scopas, and possibly 
Praxiteles. It had the 
form of a peristyle of 
thirty - six Ionic col- 
umns, nine on the fronts 
and eleven on the flanks, 
surmounted^by a pyra- 
mid of t w e n t y - f u r 
steps, crowned by a 
chariot bearing the stat- 
ues of Mausolus and Ar- 
temisia in a quadriga. 
The columns were slen- 
der, very tapering, with 
twenty-four flutes. The 
tomb proper was in the 
massive basement. The frieze 
bore reliefs, the cornice had dentils, and 
the cyma was ornamented with anthemia 
and lion-heads. The total height was about 
140 ft. , and the material white marble. The 
remains of the mausoleum were in great 
part destroyed in 1552 by the Knights of 
Rhodes, who used its materials for build- 
ing a castle. A number of its reliefs and 
the statues of Artemisia and Mausolus are 
now in the British Museum. 
HAMMEH (anc. Amatha), Palestine. 

RoMAX Baths, in great renown in an- 
tiquity on account of the hot springs 
they utilized. The waters are still in 
great favor with the Arabs. There are im- 
portant remains of halls and chambers 
with barrel-vaulting, all built of handsome 
masonry in basalt. 
HASS, Syria. 

ToiiB OF Diogexes, in tlie necropolis, 
a notable monument in ashlar of lar2"e 



high and 



no 



HATZOR 



blocks. There are two stories. The lower 
story is a massive cube preceded by a por- 
tico, upon which ojiens a handsome door 
formed of two hinged slabs of basalt bear- 
ing in relief the monogram of Christ. 
The lintel is ornamented with acanthus 
leaves. Tlie interior is ceiled with a bar- 
rel-vault divided into two bays by an arch 
springing from pilasters. Five niches 
surround the walls, each holding a sar- 
cophagus. The ujiper story consists of 
a chamber which was originally surround- 
ed by a colonnade ; it also contains sar- 
cojDhagi. 
HATZOR (?), Galilee, Palestine. 

ExT£xsiVK Remains of an ancient 
city of Cyclopean construction, identified 
by M. de Saulcy as the Hatzor of Script- 
vire. In the middle of the enclosure is a 
structure nearly 200 ft. square, with tow- 
ers or projections at the four corners. 
The masonry is in unsliaped and very 
slightly shaped stones. Tlie site is in- 
adequately exj)lored, though de Saulcy "s 
account is confirmed by those of otlier 
travellers. 
H AIT RAX, Syria. 

The district called tlie Ilanran. in 
central Syria, a Ijarren region within a 
radius of perhaps a hundred miles soutli 
and east of Damascus, contains abundant 
remains of an ancient architecture so 
unique, and so compacted in a great num- 
ber of small villages near together, that it 
is natural to describe it here under a single 
title. It all dates from the early Cliristian 
centuries, up to the ^[oiiammedan inva- 
sions in the vii, its chronology being fixed 
by inscriptions. Tlie country is, and was, 
bare of wood, and the buildings are ac- 
cordingly entirely of stone, even to the 
roofs, floors, doors, and window-shutters. 
The stone, a volcanic dolerite, is cut with 
great precision, and laid without mortar, 
in blocks and slabs ; the round arch and 
lintel are used freely in combination ; the 
carved ornament, which is lavish and 
finely wrought, shows a progressive devel- 



opment from a Greco-Roman to a Byzan- 
tine character, almost Romanesque. The 
houses are floored and roofed with slabs of 
stone ; the larger rooms are spanned by a 
series of round arches, close enough to give 
a bearing for the slabs, which are 8 ft. or 9 
ft. long. Many of the houses are preserved 
uninjured, and are appropriated by the 
Arabs as dwellings. They are almost al- 
ways entered through courtyards, and 
fronted with open galleries or porticoes of 
stone, often in two stories, supported by 
columns or pilasters which carry lintels 
and sometimes arcades, and defended in 
the U23per stories by panelled stone para- 
pets. A little farther north, and east of 
Antioch, is another district which contains 
an architecture almost identical with that 
of the Hauran, in which, however, owinsf 
to the nearness of the wooded region of the 
Lebanon, the churches and larger build- 
ings were covered with wooden roofs, 
either gabled or lean-to. The churches 
in both these districts are numerous and 
interesting, and generally accompanied by 
conventual buildings. They display a re- 
markable number of the peculiarities of 
plan and construction that were after- 
ward developed in tlio monastic architec- 
ture of Europe. Tliey are mostly of 
uniform type — three-aisled basilicas with- 
out transepts, the nave and aisles separated 
by arcades, usually on columns, carrying 
a clerestory. In only one instance, the 
small basilica at Betursa (given by De 
Vogile), the columns bear lintels instead 
of arches. An open colonnaded porch or 
narthex fronts them, and they usually 
end eastward in a single apse with win- 
dows, flanked by the two small rooms 
which in the Byzantine churches are 
known as the diacoaicoii and profhesis. 
The round apse sometimes projects east- 
ward, and is sometimes masked by a 
straight wall. Perhaps the cathedral of 
Bozra is the only church in which it takes 
the usual Byzantine form, round within 
and poh-gonal without. There is another 



171 



HEBRON 



type, square or octagonal, and roofed with 
domes of rubble masonry, carried on 
squinclies, or on a sort of pendentives 
rudely corbelled out from the corners, 
which perhajjs show the first step in the 
development of the regular finished By- 
zantine pendentive. A great variety of 
elaborate tombs is scattered over the 
country, in a great variety of forms — 
hypogean, rock -cut, monolithic, or of 
finished masonry ; and in the shape of 
subterranean chambers, obelisks, cells, 
pyramidal, gabled, domed, sometimes 
mere trestles, and sometimes complete 
temples in antis. They are apt to be the 
earliest structures in date, and the most 
classic in style. All the buildings, except 
a few of the earliest, bear the marks of a 
Christian origin in symbols and inscrij)- 
tions. Many are dated, and some show 
even the names of their owners and build- 
ers. (See Bahusa, Bozra, Ezra, Kalat 
Simaii, Kalh Luzeli, Kcmaiuat, Mujelia, 
Rmueilm, ShahTca, Siali, Suweda, Tafha, 
Turmanin. ) 
HEBRON, Palestine. 

The Great Mosque is a building of 
great sanctity for Moslems. They believe 
it to cover the Cave of Machpelah, in 
which Abraham was buried. It has a 
massive enclosing wall, built of very large 
stones with drafted jambs, like the walls 
of the Haram at Jerusalem, and probably 
the work of the Jews. This wall, which 
is over 50 ft. high, with no openings but 
two doors, and is broken only by a series 
of pilaster-like buttresses, encloses a quad- 
rangle about 100 ft. by 200 ft., with the 
long axis north and south. Upon it the 
Arabs have built an additional story, and 
minarets at the corners. The south end 
of the ai'ea is occujiied by a church, or 
other building, in the style of the Cru- 
saders. It consists of three aisles of three 
bays each, covered with groined vaulting 
on pointed arches, but it has no apses, nor 
other indication of the arrangement of a 
Christian church of its period, while in 



the south wall, toward Mecca, is the usual 
mihrab, or Mohammedan pi'ayer-niche. 
Several later chambers have been built 
about the enclosure, and in them and in 
the mosque are seen the tombs of Abra- 
ham's family. A hole in the floor of the 
mosque is the opening to the cave below. 
Tlie tradition of the burial here of the 
patriarchs is very old. Josephus men- 
tions their monuments wrought in mar-^ 
ble ; the Bordeaux Pilgrim in tlie iv cent, 
describes the outer wall substantially as it 
still appears. The calif Ibu Kalun is 
said to have lined the walls of the mosque 
with marble and built the outside addi- 
tions in 1331, but there is no account of 
the origin of the earlier work. The rigid 
exclusion of Christians from the enclosure 
has prevented a complete knowledge of 
the building. 

HELIOPOLIS. See Baalbek. 
HERCULANEUM, Italy. 

Basilica, on the street north of the 
theatre. It was 328 ft. long and 132 ft. 
wide, with a peristyle of forty-two col- 
umns, and was ornamented with mural 
paintings. It is now difficult to study 
satisfactorily, as its remains have long 
been neglected. 

House of Argus, so named from the 
subject of a mural painting found in the 
triclinium. The plan is of the type of 
the most elegant houses of Pompeii. At 
the entrance is a vestibule with two long 
benches, and two stuccoed pilasters to sup- 
port the roof. There are two garden- 
courts with peristyles ; the second of these 
had twenty columns and six piers, and 
botli had rich cajjitals formed in white 
stucco. Upon the peristyles open the 
usual rooms, summer and winter dining- 
rooms, exedras, tabularium, etc. The 
painted ornament is of excellent taste and 
execution ; it includes architectonic de- 
signs on a red or a black ground, and 
marine views. There is also some good 
relief-decoration in stucco, besides several 
pavements in mosaic. 



172 



HIEEAPOLIS 



Theatre, in excellent preservation, 
but difficult to see satisfactorily owing to 
its being underground and to the presence 
of many piers serving to sustain the town, 
nearly 90 ft. above. It has sixteen tiers 
of seats, divided into six cu7iei or wedge- 
shaped divisions by seven radial flights of 
stairs. Above these seats is a wide pre- 
cinction or passage, and above this again 
a portico, originally encrusted with white 
marl^le, and three more tiers of seats. 
Below the ordinary seats are five wide 
steps for seats of honor, immediately sur- 
rounding the orchestra. The orchestra 
was paved with thick slabs of giallo antico. 
The stage, raised about 4 ft., is about 79 
ft. long and 29| ft. deep, with three doors 
opening in the back wall, the central one 
in a semicircular recess. It is estimated 
that tlie cavea could seat ten thousand 
people. The theatre and Hereulancum it- 
self were discovered accidentally in 1709, 
by the sinking of a well, which brouglit 
to light fragments of colored marbles, mo- 
saics, and sculptures. But little excava- 
tion, however, apart from desultory elforts 
to secure plunder, was conducted until 
the beginning of the present century. 

Among the other cliief ruins of Ilercu- 
laneum, are tliose of the so-called House 
of Aristides, where was found the .Eschi- 
nes statue of the Xaples iluseum, orig- 
inally identified as Aristides, tlie Forum, 
temples to tlie Mother of the Gods and to 
Hercules, a prison of three stories, and a 
round -arcaded magazine built of brick in 
horizontal courses and (ipns rctiritlatuii). 
IIIERAPOLIS (Painlxiuk Kalessi), Phry- 
gia, Asia Minor. 

MoxuMEXTAL Stheet, extending in a 
straight line out from tlie north gate of 
the city. It was bordered on both sides 
by long stoas or porticoes formed of Doric 
semi-columns engaged in rectangular pil- 
lars, and terminates in a triumphal arch 
or gate, with three arched openings be- 
tween two massive round towers. The 
architrave of this gate bears an inscrip- 



tion in honor of Septimius Severus (193- 

211 A.D.). 

Theatre, toAvard the east side of the 
city, of Roman date, but Greek in many 
details, as in the excess of its plan over a 
semicircle. The cavea, which faces west, 
rests in part upon a side-hill, and in part 
upon vaults. The diameter is about 340 
ft. ; that of the orchestra, 90 ft. There 
were nineteen tiers of seats below the dia- 
zoma, or horizontal passage, and twenty- 
six tiers above the diazoma, which is bor- 
dered above by a podium. There are 
eight Himakes, or radial stairways in the 
lower division of the cavea ; one of them 
subdivided in the upper division. The 
cavea was surrounded above by a monu- 
mental colonnaded gallery, with arches 
opposite the stairways and the middle of 
every wedge of seats. The front wall of 
the stage-structure had in the lower story 
five doors with coupled columns, and in 
the upper story niches between columns 
witli spiral fluting, and a frieze and other 
sculpture of good execution. Behind the 
stage was a hall 90 ft. long and about 14 
ft. wide, with a range of columns against 
tlie back wall of the stage. The stage- 
structure had projecting wings built im- 
mediately against the extremities of the 
cavea. The material is a hard, marble- 
like stone. 

The great Theatre, outside the city 
walls on tlie north side, is from its jilan un- 
doubtedly Greek, though it is much ruined 
and has not been adequately studied. It 
rests against a side-hill facing south of 
west ; tlie cavea is divided into three by 
two 2)recinctions or horizontal passages. 
The diameter is about 540 ft. ; that of 
the orchestra, about 124 ft. 

Thermae, two buildings forming wings 
projected at right angles to the main 
structure, with a spacious court between 
them. On the side facing the court, these 
Avings Avere open, having ranges of square 
pillars Avith Corinthian capitals. These 
structures Avere probably Avaiting-rooms. 



173 



HIERON 



The front of the main building was a 
large vaulted hall, with a smaller chamber 
at each end. Behind Avere spacious corri- 
dors, the bathing-rooms j^roper, indicated 
by water-conduits still in jjlace, and other 
halls which probably served for gymnastic 
exercises and similar j)nrposes. 

Walls of the ancient city, surviving in 
great part, Avith several gates, and rectan- 
gular towers. Within the Avails are re- 
mains of two basilicas and many other 
edifices, and Avithout the Avails is a third 
basilica and a very extensive and interest- 
ing necropolis. Tavo of the basilicas ap- 
pear to be Christian ; the third is more 
ancient. 

HIERON PROMONTORY. See Ana- 
toli luivak. 
HISSARLIK. See Ilion. 
HOSN SULEIMAN (anc. Bajtocece ?), 
Syria. 

Sanctuary, probably of Jupiter. The 
temenos, or sacred enclosure, measures 
about 293 ft. by 612 ft., and is built in 
part of enormous blocks, some of them 
reaching the size of 29 ft. by 10 ft. by 3| 
ft. In the middle of each side is a gate 
of the pylon type, all with gigantic mono- 
lithic lintels. The soffits of the lintels 
bear each an eagle holding a caduceus, be- 
tween two genii. The doors are flanked 
by niches, and carved Avith victories, tela- 
mones, and elegant mouldings. An in- 
scription on the chief gate, that toward the 
north, applies to a date between 253 and 
259 A.D. In the middle is a small pseudo- 
peripteral Ionic temple, Avhieh appears 
never to have been completed. In front 
of it stands an altar. Without the en- 
closure, on the north, rises a large group 
of buildings, including a small temple in 
antis, called by the Arabs ed-Deir. 
lADERA. See Zara. 
lASOS (Asin Kalessi), Asia Minor. 

The remains include the fortifications 
of the old city, Avhicli covered a large area, 
and those of the small ncAV city, occupying 
an island, now a peninsula, Avhich may 



Avell have been the original acropolis. 
The Avails of the old city are of rough 
coursed masonry. These Avails are pecul- 
iar in that they are pierced Avith a very 
large number of posterns and Avindows, 
evidently intended to provide for a very 
aggressive defence in case of siege. There 
is a number of semicircular towers, and 
a fcAv of rectangular plan. The Avails 
may be dated by analogy from about the 
last quarter of the \ century B.C. The 
Avails of the ncAV city are of much more 
careful masonry, Avith rustic face, and a 
draught at the angles of towers, etc. 
There are towers, both square and semi- 
circular in plan, and a well - fortified 
gate. These Avails may date from the 
middle of the ia" cent. B.C., or even later ; 
they consist, as is usual, of an outer and 
an inner facing, with a filling of rubble. 
The theatre in the ncAV city is Avell pre- 
served ; its masonry is in great part of 
the same character as that of the fortifi- 
cations ; there are remains of the stage- 
structure. A Roman aqueduct of some 
extent lies outside the Avails. 

Pal.^stea, adjoining the stadium. The 
plan is rectangular, 269 ft. by 121 ft. It 
consisted of tAvo rectangular buildings, 
one at each end, each diA'ided into three 
halls, connected by tAvo colonnades, one 
on each side. The enclosed court was the 
palestra proper. An inscription on the 
Avail of the west building shoAvs that both 
end buildings Avere dedicated by one 
Diodes to Artemis Astias and the em- 
peror Commodus. 

Theatre, on the top of a hill, of the 
lA' or v century B.C. In plan it is near- 
ly semicircular ; the exterior diameter is 
246 ft., that of the orchestra, 75 ft. Of 
the seats sixteen tiers remain Avitli por- 
tions of others. They are of Avhite mar- 
ble, sculptured Avith lions' jaaAvs. The ex- 
terior wall of the cavea is of large squared 
stones, laid Avithout mortar ; the Avail of 
the stage-structure is of smaller stones and 
appears to be a later construction. 



174 



IGUVIUM 



IGUVIUM. See Guhhio. 
ILION, Troad, Asia Minor. 

The remains investigated by Dr. Schlie- 
mann since 1872 are included in an acrop- 
olis of very small extent, at Hissarlik, 
which was a seat of settlement from re- 
mote ages through classical times. The 
city in the plain below has disappeared, 
leaving but very slight traces. The set- 
tlements of succeeding ages are marked on 
the acropolis by superimposed strata of 
ruins aiul debris. According to the lat- 
est study, while the lowest la3'er represents 
the most ancient city and goes back to a 
very remote antiquity, the second layer 
displays a state of civilization correspond- 
ing to that 2)ictured in Homer, and agrees, 
though more ancient and primitive, with 
the remains foixnd at Mycenae and Tiryns. 
Next above come several layers evidently 
produced l:)y rude and poor village-settle- 
ments, continuin.g the civilization of the 
j)receding layer. And finally we have the 
remains of the historic Greeco-Roman city 
of Ilion. The citadel of the lowest stratum 
is only 150 ft. wide, witli walls of rough 
stones about 8 ft. thick enclosing I'ough 
house-walls of snudl stones bondetl and 
coated with clay. The second city, or 
Homeric Troy, has a massive citadel wall, 
consisting of a revetted stone substructure, 
inclined on the exterior at an angle of 
forty-five degrees, and 1)5 ft. broad on toj). 
This foundation was originally ci'owned 
with a wall of unburned bricks, strength- 
ened with wooden beams built in. Several 
gateways ami towers are visible, the for- 
mer planned closely in the way afterward 
followed by the Hellenic military en- 
gineers. Within the citadel are remains 
of a ]ialace, of similar ])lan to that at Tir- 
yns, but simplei'. 'I'lie walls have a sub- 
structure of stone, the upper portion being 
of unburned bricks. I'here is plain evi- 
dence that this city Avas destroyed by a 
great lire. The most important of the 
finds in this stratum is tlie so-called Great 
'J'reasure, now in the lierlin Museum. 



It includes diadems, chains, earrings, 
bracelets, and cups of gold, vases and bars 
of silver, jars, and various weapons of cop- 
per. The decoration of a few of the orna- 
ments is more advanced than that of the 
others, and of a similar character to that 
from Mycenae. The pottery is much 
ruder than that from Mycense. The 
third, or village-settlement, displays very 
rough walls of inferior masonry, belong- 
ing to very small buildings. The fourth, 
or Gra?co-Eoman citadel, shows walls of 
regular, well -jointed ashlar, and scanty 
remains of two Doric temples. From one 
of these comes the well - known metope 
sculptured with Helios urging on his four 
horses. Coins, abundant remains of pot- 
tery of different dates, inscriptions, and 
all the usual remains of the later civiliza- 
tion have been found, together with an 
elaborate Koman gateway, with a vesti- 
bule, three doors with Corinthian semi- 
columns, and an outer portico of four 
Doric columns, to which probably corre- 
sponded an inner portico of two eohunns 
i/i. inilis. 
INTEEAMNA, Piccnum. Italy. See Ter- 

aiiw. 
INTERAMNA, Umbria, Italy. See Ter- 

ni. 
IliBID. See Arhela. 
ISEENIA (anc. /Esernia). Italy. 

The massive walls in polygonal masonry 
of the ancient town serve as the founda- 
tions of the modern walls almost through- 
out the circuit, and possess much inher- 
ent interest. The most curious survival 
from antiquity, however, is the long rock- 
hewn aqueduct which begins at the 
bridge on the side toward Solmona. It 
has six air-shafts, the largest of them 83 
ft. deep. This aqueduct still supjjlies the 
fountains and factories of the modern 
town. 
ISTHMIAN SANCTUARY, Coiinthia, 

(ircece. 
'I'kmple of Poseidox (Neptuiu'). It 
was approached from the side of the thea- 



175 



IZ¥IK 



tre and stadium by an avenue adorned on 
one side by a row of pine-trees^, and on 
the other by statues of victors in the Isth- 
mian Games. The temjjle was of only 
moderate size, but was richly endowed 
with works of art. On the exterior were 
tritons of bronze, and in the pronaos 
two statues of Poseidon and others of 
Amphitrite and of Thalassa (the Sea) — all 
of bronze. The sculptures in the cella 
were dedicated by Herodes Atticus, and 
included four horses held by two tritons, 
and chryselephantine statues of Poseidon 
and Amphitrite standing in their chariot. 
There were also in the temple statues of 
other maritime and local divinities. The 
Temple was of Doric order, in the rough 
stone of the Isthmus, which was coated 
with stucco and j)ainted. The remains 
of columns and entablature indicate a 
date of about the middle of the vi century 
B.C. The columns had only sixteen chan- 
nels, were 4 ft. 10 in. in diameter at the 
base, diminishing to 4 ft. at the neck, and 
about 20 ft. high. The peribolos of the 
sanctuary was about 940 ft. long from 
S.W. to N.E., and about 700 ft. wide at 
the broadest place, from which it dimin- 
ished rapidly in width toward the south, 
forming in plan a very irregular pentagon. 

Eoman Triumphal Arch or gateway 
on the N.E. side of the sanctuary. It 
consisted of three arched passages, the 
central one, for vehicles, about 13 ft. wide, 
and the two on the sides about 6 ft. 6 in. 
Avide. The whole width of the monument 
is about 50 ft. It survives to a height of 
some 13 ft., and the paved way Avith the 
deep ruts of the ancient chariots, still 
leads through the widest opening. The 
masonry is in large blocks, laid Avithout 
cement, ornamented with mouldings, and 
dating apparently from the time of Au- 
gustus. 

IZNIK. See mccea. 
JERASH. See Gerasa. 
JERUSALEM, Palestine. 

Apostles' Cavern so-called, but vari- 



ously identified, in the A-^alley of Hinnom. 
The entrance is surmounted by a frieze of 
corrupt Doric, with eight metopes^ each 
with a patera or rosette of different form 
from the others, besides arabesques and 
vine-patterns. The metopes are separated 
by diglyphs the regulae beneath which 
have only two guttse. There are several 
inner chambers with benches and loculi 
for sarcophagi. Both the vestibule and 
the chambers have Byzantine paintings 
on the ceilings and walls. Here, accord- 
ing to a tradition of the xvi cent., the 
apostles concealed themselves during the 
trial and crucifixion of Christ. 

Arch of Pilate. See Ecce Homo 
A roll. 

Chapel of the Apparition. See 
Cliurch of the Holy Sepulchre. 

Chapel of the Ascension, a small 
chapel on the Mount of OHa'cs, com- 
memorating the ascension of Christ — all 
that remains of a large and famous church. 
It is an octagon of about 21 ft. diameter, 
composed of eight pointed arches, once 
open, now blocked. The original columns 
engaged in the piers, and the corbelled 
cornice, are clearly Romanesque, the 
drum and the dome that surmount them 
are later Arabic work. Although St. 
Luke's Grospel declares that the Ascension 
took place at Bethany, Eusebius says that 
Constantine commemorated it by a lai'ge 
and splendid church on the top of the 
Mount. St. Jerome says that it Avas a 
great round church, of which the centre 
had to be left open to the sky, because the 
Lord's body had passed there, and that his 
last footprint (which is still shown) AA^as 
marked in the ground. The original 
building was destroyed by the Persian 
Chosroes (614), and rebuilt or replaced 
by Modestus. The present chapel is 
doubtless a fragment of a large octagonal 
church built by the Crusaders, from which 
five bases of clustered angle-piers still re- 
main in position, built into Avails with 
which the later Moslems have enclosed a 



176 



JERUSALEM 



court, making a mosque. The various 
Christian Churches are still allowed to 
worship in it, and have each, an altar or 
niche there. 

Chapel of the Cross. See Church of 
the Holy Sejjulchre. 

Chapel of St. Helena. See Church 
of the Holy Sepulchre. 

The Church of St. Axne, adjoining the 
N. E. corner of the terrace of the Temple, 
keeps its original form more completely 
than any other building of the Crusaders in 
the Holy Land. It is a small church, G3 ft. 
by 110 ft. within, consisting of a nave and 
aisles of tliree bays, clioir, and transept, 
with three eastern apses side by side. 
Over the crossing is a pointed dome. The 
plan of the church is distinctly western in 
character, its execution sliows Byzantine 
and Syrian influences. The nave, 28 ft. 
wide, has square bays ; it and the aisles 
have plain groined vaulting with only 
cross-ribs : the vault oi tlie transept is a 
transverse pointed wagon-vault. Tiie piers 
are cruciform groups of pilasters, there 
l)eing no round shafts anywhere except in 
the jaml)s of tlie principal wiiulow ; there 
are scarcely any capitals, and the inside is 
severely plain. The apses are Byzantine 
in form, round witliin and octagonal with- 
out, the dome probably Saracenic. The 
high-placed windows of tlie aisles and the 
clerestory windows of tlie nave are point- 
ed. The exterior is very plain, except tlio 
east front, which lias a single doorway and 
over it a clerestory window, both with en- 
riched moulded archivolts, tlic Avindow 
witli Corinthian nook-shafts in tlie jambs. 
All the roofs are flat and the walls witli- 
out cornice or parapet, broken by plain 
buttresses which run to the top. In this 
building, as in otlier buildings of the 
Crusaders, the pointed arch is used syste- 
matically and exclusively, as it Avas not at 
that time yet used in Europe ; the form 
of the ai'cli is broader and lower and more 
Saracenic than was common in Europe, 
but the carving and moulding, so far as it 



goes, is altogether Byzantine-Eomanesque. 
There is record of a Christian church 
and convent here as early as the vii cen- 
tury. But it was not till the repudiated 
Avife of Baldwin I. took refuge in it (1104) 
that the convent became imjiortant. From 
that period doubtless dates this present 
church. After the expulsion of the 
Latins, Saladin established a school in it, 
and so it was preserved by the Mussulmans 
till, in 1850, after the Crimean War, the 
Sultan Abdul Mejid gave it to the Emper- 
or Napoleon HI. Since then it has been 
in the hands of the French, by whom it 
has been restored. Under the church and 
entered from the south aisle is a ramb- 
ling crypt, which, according to the tradi- 
tion, was part of the house of St. Anne 
and birthplace of the Virgin. 

'J'he Church of the Holt Sepulchre 
lies Avest of the platform of the former 
Jewish temple, outside of what Avas prob- 
ably the Jewish Avail, and so enclosed in 
ncAver buildings that nothing is seen but 
its entrance, its tAvo domes, and the stump 
of the XII cent, tower. It is entered 
through the south transept {see Fig. OS), 
the front of which is the only exposed 
part of the building, forming the back of 
a fore-court or parvis about GO ft. Avide by 
80 ft. deep. The plain buildings each 
side the court contain a A'ariety of small 
chapels and rooms divided among the 
cliurches Avhich share the possession of the 
Holy Sepulchre — the Greek, Latin, Cop- 
tic, and Armenian. The transept front, 
tlie Avork of the Crusaders in the xil 
cent., is a squarish mass in two stories, 
Avith a double doorAvay beloAV correspond- 
ing to tAvo coupled windows aboA'e. The 
openings are loAV-pointed, Avith broadly 
moulded archivolts and triple jamb-shafts, 
enriched hood - mouldings, and string- 
courses. The tympana of the doorAvays 
are solid and carried on sculptured lintels. 
The style is a mixture of early French 
pointed and Byzantine. At the right of 
the doorAvays is a little square projecting 



177 



JERUSALEM 



cliapel, of the same age and style, in two 
stories, witli outside steps and a small 
later dome ; on the left, likewise advanc- 




^^. — Jerusalem, Ch. of Holy Sepulchre, Transept. 



ing. are three stories of a square buttressed 
bell - tower, evidently a little later than 
the front, with coupled windows in the 
upper story, above which appear the low- 
er courses of the destroyed belfry stage. 
The interior is very intricate, not only 
comprising three churches, or parts of 
churches of different periods, but confused 
by the effort to cover in one building 
many scattered shrines, and to include the 
various sanctuaries of the five ancient 
Churches which claim each a share in it. 
The building really consists of a circular 
nave, covering the sepulchre itself, a choir 
and transept, irregularly built about witli 
many small chapels, and a small churcli 



or detached chapel unsymmetrically placed 
behind the choir (eastward). The nave is 
rebuilt on the foundations, and probably 
includes the walls, of the old nave burned 
out in 1808. It is a rotunda 68 ft. in 
diameter, called the Anastasis, sujjported 
on eighteen close-set piers and covered 
by a dome. The piers are faced with a 
huge debased order of composite pilasters 
with pedestals and entablature support- 
ing a flat dome, whicli lias an open cen- 
tre or eye and its base pierced by lu- 
nettes. The surrounding aisle is in three 
stories, with balustraded openings into 
the nave, like theatre boxes. Under the 
middle of the dome stands the chapel of 
the Sepixlchre itself, a little building 
some 2G ft. by 18 ft., with a square east 
front where the door is, and an apsidal 
end at the Avest, within which is the 
sepulchral chamber. This chapel, re- 
built at the same time witli the rotunda, 
is decorated with a degraded Corinthian 
order, with much panelling of rich mar- 
bles, and enriched within and without 
in rococo style. Over the sepulchral 
chamber is a little Eussian-looking cu- 
pola. The choir and transept, about 
40 ft. wide, built by the Crusaders and 
now possessed by the Greek Church, were 
much less injured by the fire than the 
rotunda, and retain in a great degree 
their original form, in spite of many mod- 
ern incumbrances. They make three arms 
of a cross, prolonged at the head in a semi- 
circular apse which is surrounded by a 
tribune of seats for the presbyters, rising 
in tiers and covered by a semidome. Over 
the crossing is a hemispherical dome on 
a high drum, carried on pendentives and 
pierced by an encircling gallery with outer 
windows and an inner arcade. But this 
general disposition is much obscured to 
the eye, the main arches to the transept 
and the aisles being blocked by walls 
against which are built the modern stalls 
for the clergy. The choir thus enclosed, 
and called the Catholicon, is about 100 ft. 



ITS 



JERUSALEM 



long. It l)elougs to the Greek Cliurcli ex- 
clusively, and the apsidal end, with half 
the bay beyond the crossing, is cut off 
by a huge iconostasis or screen, after the 
Greek manner, to separate the sanctuary 
from the rest. All the main arches here 
are pointed, as well as the vaults, but the 
gallery arcade at the base of the dome 
and a similar arcade round the second 
story of the apse are round-arched. The 
aisles also are two-storied, the spacious 
U2:)per aisle, indeed, running round the 
whole church and containing several 
chapels. The aisle returns across the 
ends of tlie transept, cutting off at the 
south the last bay, the lower story of 
which serves as the entrance porch. It is 
of very irregular width, being encroached 
upon by the various special chapels at 
many points. In the S. E. angle of tlic 
choir and transept is a group of chapels 
in two stories covering wiiat is considered 
to be tlie site of Calvary, comprising the 
Chapel of the liaising of the Cross, of tlie 
Crucifixion, and others, which crowd con- 
siderably upon the transept. Tlie lower 
aisle of the rotunda also is brdkcu up into 
cliambers, the central one of whicli, be- 
laud tlie sepulchre, expands into a chapel 
belonging to the Syrian Cluircli and leads 
to an excavation in tlie rock of tlie l)rancli- 
ing form peculiar to ancient Jewish rock- 
tombs, and known as the tomb of Joseph 
of Arimathea. Across the north end of 
the transept and the adjoining aisle lies a 
longgallory whose arcade, called the Seven 
Arches of the A'irgin, is mostly obliterated 
by the piers of the church, and beyond 
this, north of the rotunda, the Chapel of 
the A])parition, which, like the gallery, is 
part of the oldest constructions. It is a- 
plain, square building, with an apse and 
thx'ee altars in its eastern wall, and serves 
as cliapel to tlie adjoining Latin Francis- 
can monastery. From the aisle that sur- 
rounds the (eastern) apse of the Greek 
choir open three radiating apsidal chapels, 
and an oblique stairway M'hich descends 



some 16 ft. to a subterranean chapel dedi- 
cated to St. Helena, mother of Constan- 
tine. This is about 50 ft. square, By- 
zantine in style, the oldest and most 
unspoiled architecture now visible in the 
church. It is divided into nine bays, the 
central one domed, the surrounding ones 
vaulted, and is preceded by a narthex 
chiefly occupied by the staircase. Four 
columns, low and very massive, with vary- 
ing bases and uniform basket capitals, 
support peudentives which carry the dome, 
resting on a drum. The drum, pierced 
with six windows, in lunettes which are 
partially blocked, rises with its dome 
thi-ough the jjavement of the courtyard 
of the Abyssinian monastery which ad- 
joins the church — the only part of the 
building which is seen from without. In 
the middle of the cast wall is the main 
a2:)se and altar dedicated to the saint and 
emi^ress, on its left an altar to the peni- 
tent thief, and on its right a second stair- 
case descending into an irregular cavern, 
consecrated as the place where Helena dis- 
covered the true cro.ss, and called therefore 
tlie Chapel of the Invention (discovery) 
of the Cross. Tlie history of the build- 
ings is as intricate as their architecture. 
Archaeologists have not even been agreed 
as to the identity of tlie site ; but the 
general consensus of scholars has, on the 
whole, accepted it. Hadrian, we are told, 
wishing to obliterate the most sacred relic 
of the Christians, levelled up the site of 
the sepulchre and built a temple upon it 
to Venus or to Jupiter. When Constan- 
tine had established the Christian Church, 
and wished to recover the sepulchre, 
Hadrian's temple was his landmark. He 
recovered it, says Eusebius, and finding 
the sepulchre unharmed beneath, built 
over it a gorgeous slirine, to which he 
added a large and magnificent basilica. 
Cyril adds that he cut aAvay about the 
sepulchre the rock in which it was ex- 
cavated, leaving only a shell to enclose 
the burial-chamber, and removing even 



17a 



JERUSALEM 



the iuitecliamber, levelled ofE the siir- 
rouuding surface, and then encased the 
tomb in marbles. The Persians under 
Chosroes II., assisted by fanatical Jews, 
destroyed and buried the buildings in 
614. Modestus, afterward patriarch of 
Jerusalem, immediately set to work to 
rebuild, not Constantine's basilica, but 
more modest buildings over the separate 
holy places. These were again destroyed 
in 1010 by the caliph Hakim, founder of 
the Druses. Directly afterward, however, 
he allowed them to be restored by the 
Greek emperors, which was accomplished 
in 1048. As soon as the Crusaders were 
fairly established in Jerusalem, it was 
their care to build or to rebuild a great 
church which should emln-ace all the iso- 
lated shrines that clustered about the 



about these — probably remained substan- 
tially unchanged till the fire of 1808. 
Before this fire the rotunda was carried 
on twelve round columns divided into 
groups by pairs of square piers at the car- 
dinal points, with three stories of arcades 
as at present, and was covered by a wood- 
en conical roof open in the centre, which 
was the cause of the damage to this part 
of the church from the fire. Probably 
much of the old masonry is imbedded in 
the present piers. The falling of the 
cupola crushed the chapel over the sepul- 
chre itself, and it is likely that not much 
of the shell of the burial chamber has sur- 
vived this and the previous destructions, 
the Moslems under Hakim having made 
great efforts — which were foiled by mira- 
cle, say the historians of the church — to 




Fig. 94. — Jerusalem, Church of the Holy Sepulchre, Plan. 
Scale of 100 feet. 



sepulchre. This was mostly done in the 
first half of the xii century. The church 
which they built — connecting the older 
rotunda with the Chapel of St. Helena, 
and including the Calvary, the Stone of 
Unction, over which its south transept 
extends, and the various chapels which lie 



destroy it, both with sledge-hammers and 
Avith fire. But De Vogue and other traA^- 
ellers declare that parts of the original 
rock can still be seen between the marbles 
that line the interior. The literature of 
tlie building, in all languages, is very 
abundant, and the theories of writers are 



180 



JERUSALEM 



many. Mr. Fergusson has argued tliat 
the real sepiilchre is under the building 
commonly known as the Dome of the 
Eock, or the Mosque of Omar, but the 
weight of aiithority is 
against him. {See Figs. 
9J^, 95.) 

Churches of St. 
Mary Latix and St. 
Mary M a .t o r . See 
Jlo.'^pital. 

Church of the Vir- 
Gix. See 7'o/nlj of Uw 
Virgin. 

Citadel, an irregu- 
lar group of five square 
towers, commonly 
called tlie City of Da- 
vid, f 'he substructions 
to a heiglit of ;3U ft. are 
Roman, of large drafted 
blocks with rough faces, 
inclined at an angle of 
about forty-five degrees. 
This is believed to be 
the Hippicus Tower described by Jose- 
phus, which was left standing by Titus 
when he destroyed Jerusalem. Tlie lua- 
sonry is evidently of about the llerodian 
time, though apparently later than that of 
the Temple walls. 

The Dome of the Rock (Kul)bet es- 
Sakhra), popularly but incorrectly called 
the Mosque of Omar (see EI-Alsa), stands 
on the platform which encloses the sum- 
mit of Mt. ;Moriah in the middle of the 
Temple Terrace, and is believed to occupy 
the very site of Solomon's tcm]ile. Tlie 
platform, about iM) ft. l)y 500 ft., is 
reached by fliglits of steps irregularly 
placed, leading to gates of various design, 
mostly groups of pointed arches in square 
bits of wall. The summit of the liill pro- 
trudes within the building in an uneven 
rock some sixty ft. across and from one to 
live ft. high, wliich is guarded by a mar- 
ble screen or wall. Round this is a cir- 
cular arcade resting on heavy square piers. 



Avith twelve intermediate columns in 
groups of three. The arcade is surround- 
ed by two aisles, and carries a high tam- 
bour which rises above these and supports 




Fig. 95. — Jerusalem, Dome of Holy Sepulchre. 



a stilted hemispherical dome about 80 ft. 
in outside diameter and 110 ft. or more to 
the top. Tlie inner aisle is enclosed by an 
arcade which makes an octagon of 124 ft. 
in diameter, with piers at tiie angles and 
sixteen columns or piers between — the 
outer aisle by a solid wall pierced by 
pointed windows. Both aisles are includ- 
ed under tlie same rather low, lean-to 
roof hidden by a solid parapet ; so that 
from Avithout the building appears as a 
low, flat-roofed octagon 160 ft. broad, out 
of the middle of Avhich rises a low drum 
carrying a high dome. But its mispro- 
portion" is to most eyes compensated for 
by the splendor of the coating of marble 
niosaic and glazed tiles Avhich covers all 
tlie exterior." The walls of the outside 
octagon are divided by pilasters into 
panels, the upper halves of Avhich are 
filled with pointed windoAVS, except in the 
middle of each cardinal face, Avhere a pro- 
jecting porch covers an entrance door. 



181 



JEEUSALEM 



The drum of the dome is broken by the 
four great middle piers, which are con- 
tinued in relief up to its cornice, while 
groups of windows between, in fours, 
make a clerestory. The decoration of the 
interior is extremely rich ; its architect- 
ure is peculiar, and has been the subject 
of much controversy. The columns are 
apparently in great part the sjDoils of 
other buildings. They are of rich mar- 
bles with shafts, capitals, and bases of un- 



the dome are covered with profuse and 
splendid ornament of late date, painted 
and gilded, while the windows are filled 
with rich stained glass. The exposed rock 
is held in extreme veneration by the Mos- 
lems, who see on it the footprints of Enoch 
and of Mohammed, and the mark of the 
hand of the angel Gabriel. No place ex- 
cept the Kaaba of Mecca is so sacred for 
them as this building, and till very re- 
cently no Christian had been allowed to 




Fig. 96. — Jerusalem. Dome of the Rock. 



equal height and irregular design, but all 
of some variation of classic Corinthian 
or Composite, and mostly Byzantine in 
character. The inner arcade is of arches 
very slightly pointed, resting directly on 
the capitals aiid stayed by a slender wood- 
en tie. In the outer arcade the columns 
carry stilt-blocks, across which lies a heavy 
continuous beam carved into a semblance 
of a classic entablature, and upon this 
rest the arches, which are round. The 
interior wall, up to the wooden ceiling of 
the aisles, is clad in a mosaic casing of 
colored marbles ; above this the drum and 



set foot in it. A cave, apparently natural, 
underlies a part of the rock, entered by 
stairs under the dome, and a small per- 
foration in its roof communicates with 
the air above. Here, it is believed, is the 
lapis pertusus, the pierced rock, to which 
the Jews habitually came, to anoint it 
with their tears and ointments, during the 
interval when it was unclaimed by either 
Christian or Saracen. Much argument 
has been spent over the origin of the 
Dome of the Eock. The popular name is 
clearly misapplied : it nowise resembles a 
mosque, and there is no indication what- 



182 



JERUSALEM 



ever that it was built by Omar. Mr. Fer- 
gusson stands alone in believing that it is 
Constantine's Oliurcli of the Holy Sepul- 
chre : the materials from Avhich its older 
parts are laboriously pieced together seem 
to be distinctly Byzantine. Professor 
Sepp sees in it a church of Sta. Sofia (the 
Holy Wisdom) built by Justinian ; tlie 
Arab historians and traditions unanimous- 
ly declare it to have been built by Abd- 
el-Malek, Omar's successor. It is proba- 
ble that they are right, and that he built 
it, about 690, out of the spoils of older 
buildings, and by the hands of Byzantine 
workmen. But it has been through many 
alterations : the dome, destroyed by an 
earthquake, was rebuilt in 102;i ; it has 
since been again rebuilt. The Templars, 
established within the precinct of the an- 
cient temple (see EI-Alstr) adopted the 
round form of the Dome of the Rock 
for the churches, called temples, which 
they built in London and elsewhere in Eu- 
rope, and many churches earlier and later. 
e.g., Charlemagne's at Aachen, were built 
in like imitation. It was purified and em- 
bellished by Saladin after the Crusaders 
were expelled. Soliman the i\[agnifieent 
cased it in marl)le and tiles and filled its 
windows with splendid glass. Since the 
first Christians were allowed to enter it. 
accurate plans have been made by the Eng- 
lish Ordnance Survey, and photographs 
taken for the Palestine Exploration Fund. 
{See Fig. 96.) 

EccE Homo Aucir. or Arch of Pilate, 
spanning the \'ia Dolorosa or "Way of the 
Cross at the convent of the Sisters of 
Zion, in which building one side of the 
arch is engaged. It is held to have been 
a Roman triumphal arch of the time of 
Hadrian, and has been very greatly ruined, 
restored, and more or less remodelled. It 
has been pointed out to pilgrims, since the 
XV cent., as the place where Pilate ex- 
claimed : Behold the Man. 

El-Aksa. This, the oldest mosque in 
the world after that built by Mahomet at 



Mecca, and next to that the most sacred, 
stands on the southern edge of the terrace 
of the ancient temple, the Haram es-Sher- 
if. It is substantially a rectangle about 
270 ft. long and 180 ft. wide, and has been 
so often built over that its first form and 
transformations are hard to trace ; but as 
it stands now it has essentially the shape 
of a basilica with triple aisles. The nave 
and aisles run north and south, in order, 
as an old Arab historian tells us, that the 
mosque might front toward the Dome of 
the Rock {q. v.) ; the transept skirts the 
edge of the terrace. The fi'ont is crossed 
by an o^^en vaulted porch one bay deep, 
with seven pointed arches corresponding 
to the nave and aisles, which is much later 
than the original mosque. The nave rises 
Ix'hind the central and widest opening, 
and is covered with a high ridge roof, but 
with a square frontispiece, containing a 
group of three Avindows, instead of a ga- 
ble. The transepts also rise above the 
aisles, and at the crossing is a high dome 
on a drum perforated with windows. The 
central nave and adjoining aisle on either 
hand are marked off by massive piers so 
regular and distinct as to encourage the 
idea that they were the original building, 
in the form of an early Christian basilica. 
The nave walls, of seven bays, are carried 
on thick-set columns, with pseudo-Corinth- 
ian and composite capitals of Byzantine 
workmanship ; these columns, which are 
plastered over, being apparently the short- 
ened fragments of an earlier building. 
They bear slightly pointed arches, stayed 
by a continuous tie-beam. The wall above 
is pierced by two stories of round-arched 
windows, tliree to each bay, the lower 
range opening into the aisles, the upper 
serving as clerestory. A great arch with 
solid wall above, like the triumphal arch 
of a basilica, yet very slightly pointed, 
cuts oif the nave from the crossing. The 
nave and two aisles, and also the tran- 
sept, have timber roofs and ceilings, the 
transept being of later and slighter struct- 



183 



JERUSALEM 



ure, witli slenderer shafts and spreading 
capitals of basket - work in Byzantine 
leafage, and pointed and stilted pier- 
arclies tied with timber. Under the nave 
and its eastern aisle runs a crypt or vanlt- 
ed gallery of two aisles, entered from a 
stairway in front of the porch. The an- 
gles between the transept and the older 
aisles are filled out with two aisles on each 
side with square piers and pointed arches 
roughly built of old material, used with 
but little regard for its original purpose. 
These aisles are covered with groined 
vaulting and a terrace-roof. The interior 
is enriched with colored tiles, stained win- 
dows, painting and gilding, in a profusion 
which dissembles the roughness and crudity 
of the architecture. There has been great 
dispute on the origin of this building. 
Procopius describes a great basilica built 
by Justinian within the court of the Jew- 
ish temple, and most authorities have in- 
ferred that El-Aksa is substantially that 
basilica. The orientation of the building- 
is an objection to that belief, and gives 
color to the theory that it was entirely the 
work of the Moslems, though very likely 
built of the fragments of Justinian's ba- 
silica, taken from anotlier site. A smalt 
building adjoining the east transept is 
thought to be the original Mosque of Omar, 
whose name has been popularly transferred 
to the Dome of the Rock, and a prolonga- 
tion of the west transept into a double 
vaulted aisle was probably added by the 
Templars when they used El-Aksa. The 
Mosque of Omar, whatever it may have 
been, was built by Omar directly after he 
had taken Jerusalem in 637. Abd-el- 
Malek built, or else transformed, El-Aksa 
near the end of the vii century. It was 
thrice injured by earthquakes in the viii 
cent., and reljuilt Avith considerable trans- 
formations by El-Muhdi about 780. After 
Jerusalem was taken by the Crusaders, 
Baldwin II. gave El-Aksa, then supposed 
to be the remains, or the successor, of Sol- 
omon's Temple, for a residence to a broth- 



erhood of knights sworn to the defence 
of the Holy City, who, established thus 
within the precinct of the temple, took 
their name of Templars. Altered by them, 
it was again restored by Salad in after his 
capture of the city in 1187. The elabo- 
rate pulpit which he brought from Alepj^o 
is still there. Since his time the build- 
ing is probably not greatly changed. 

The GoLDEX Gate (Babel-Daheriyeh) 
is a gateway in the north wall of the 
Haram (terrace of the Temple) from 
which steps led down toward the Valley 
of Jehoshaphat, or Kedron, opposite the 
Mount of Olives. It is a rectangular mass 
through which runs a double passage, 
divided by a range of columns and sub- 
divided into six square bays covered with 
domes in Byzantine fashion. It opened 
at each end by a double archway, but has 
been walled up for centuries — by Omar, 
according to the Moslem tradition, which 
says that it will so remain till the end of 
the world, and then give passage for good 
Mussulmans to the houris of Paradise. 
The Christian tradition is that here Christ 
made his entry into Jerusalem as is de- 
scribed in the New Testament. The in- 
terior columns are late Ionic ; those on the 
exterior are Corinthian, and carry a full 
entablature and an attic. Its peculiarity is 
that the whole eiitablature is bent round 
the coupled arches in the front, forming 
their archivolt. There has been much 
controversy over its age, Mr. Fergusson 
holding that it was the entrance to Con- 
stantine's basilica, M. de Vogiie and 
others that it is of Justinian's time, or 
later. But the carved detail is said to be 
distinctly of Byzantine character. This 
gate is not to be confounded with the 
Golden Gate of Solomon's Temple, de- 
stroyed with the tem2ile. 

Grotto of St. James, so-called. An ex- 
tensive rock-tomb on the east side of the 
Kedron valley, beyond the tombs of Ab- 
salom and Jehoshaphat. The present en- 
trance is by a long passage from the 



184 



JERUSALEM 



soutli ; but the original entrance was no 
doubt by the loggia 16 ft. wide of two 
Doric columns T ft. high in antis, open- 
ing on the vertically cut face of the 
rock. There is a Doric entablature over 
the columns, and a Hebrew inscription 
above tlie cornice. Within the loggia are 
six connecting chambers, three of them 
witli loculi for dead bodies. The tomb 
has its name from a tradition that St. 
James concealed liimself in it after the 
Crucifixion. 

Haram. See Temple Terrace. 

Hebkew Necropolis of rock-tombs, 
just below the city in the Kedron valley, 
and particnlarly in the neigliboring val- 
ley of Hinnom. Near the village of Bet 
Sahur are several rock - chambers with 
shelves for the bodies, some of the 
chambers with entrance-doors, niches and 
arches, and some with apses. On the 
south side of the Hinnom valley are 
abundant rock - tombs, some of which 
were occupied by liermits in the Middle 
Ages and are now used as dwellings by 
poor families and for cattle. Some of 
them luive portals elaborately ornamented 
with mouldings and pediments ; one con- 
sists of two stories with a vestibule and 
a number of cliambers with sculj^tured 
entrances ; another, called the Apostles' 
Cavern ((/. v.), serves as a cha})el. In 
the midst of tlie tombs is a building 
called Acelduina, or building of tlie Field 
of Blood. It is 30 ft. long and 20 ft. 
wide ; its vaults 34 ft. liigh are supported 
on massive central pillars. The lower 
part of this building is liewn from tlie 
rock, the upper part is built of drafted 
masonry. There are round openings in 
the flat roof through which bodies were 
let down. The building serves as the ves- 
tibule to a series of tomb-chambers with 
loculi cut in their walls. 

The Hospital (Muristan) adjoining 
the Holy Sepulchre on the soutli is the 
dilapidated remainder of the famous 
establishment of the Hospitallers, or 



Knights of St. John. It is chiefly a mass 
of ruins, among which may be distin- 
guished the remains of its church of St. 
Mary Major. This was a small church, 
about 50 ft. by 110 ft. inside, with a 
nave and two aisles, and three apses at 
the east, as was usually the case with the 
Crusaders' churches. The principal door- 
way in tlie north aisle is still to be 
seen, a broad round-headed archway with 
shafted jambs, and two sub -arches of 
which the dividing column has disap- 
peared. The heavy moulded archivolt is 
carved Avith figures which personify the 
calendar months, above which is a string- 
course with carved corbel-table. The rest 
of the outside is concealed by abutting 
buildings, and the interior is waste. On 
the south is a cloister rebuilt by the Arabs, 
against which is a hall which serves for 
the German Protestant chapel. Among 
the houses northward, between St. Mary's 
and the Chapel of St. Helena, are the 
remains of St. Mary Latin (.sec Fig. 94), 
a nave of five bays and eastern apse, orig- 
inally attached to the same foundation. 
Charlemagne, favored by his friend Har- 
oun el-Easchid, founded a convent here 
for the assistance of pilgrims, of which 
the pilgrim Bernard the Wise wrote in 
the IX century : " We were received into 
the Hospice of the glorious Emperor 
Charles, where are entertained all those 
who, for devotion's sake, come to this 
place and who speak the Latin tongue." 
Two centuries later (1048) a company of 
merchants from Amalfi, established at 
Jerusalem, built a larger hospice attached 
to a Benedictine convent, in which were 
established two communities, monks and 
nuns, and of which St. Mary Latin was 
probably the chapel. A prior named 
Gerard, who was in charge when the 
Crusaders captured the city, established 
the brotherhood of St. John, which, as it 
grew, detached itself from the convent, 
built the great hospital, and finally be- 
came a militarv order. The eastern half 



1S5 



JEEUSxiLEM 



of the Muristan, containing St. Mai'y 
Major, was given by the Sultan to Prussia 
in 1879, when the Crown Prince visited 
Constantinople. The Germans propose 
to rebuild the church. 

The K TBBET ES - SiLSELEH, standing 
before the east door of the Dome of the 
Kockjis a picturesque little open pavilion. 
Six columns and arches bear a hexagonal 
drum and round dome ; about them is an 
open arcade of twice as many columns 
with an aisle-roof. The columns are By- 
zantine, taken from older buildings ; the 
arches round, the archivolts, spandrels, 
and floor of marble, decorated with mosaic ; 
the low drum covered outside with tiles. 
The name signifies Dome of the Chain, 
and alludes to the chain stretched by Sol- 
omon, according to Moslem tradition, 
across the opposite door of the Dome of 
the Eock. 

Mosque of El-Aksa. See El-Aksa. 

Mosque of Mussulman" Dervishes. 
See St. Peter's Clmrch. 

Mosque of Omar. See Dome of the 
Rock, also El-Aksa. 

Muristan". See Hospital. 

Pyramid of Zach arias, a rock-tomb 
of similar type to the Tomb of Absalom, 
in the range on the east side of the Ke- 
dron Valley. The square base almost re- 
peats that of the Tomb of Absalom ; it has 
pilasters at the angles, with quarter Ionic 
columns engaged as antae, and two engaged 
Ionic columns on every face. There is a 
plain architrave upon the columns, then 
the typical Egyptian cornice, and the 
whole is crowned by a quadrangular pyra- 
mid. The entire monument is hewn from 
the solid rock, is isolated like the Tomb 
of Absalom by a trench cut vertically in 
the rock-slope of the hill, and is of the 
same date. The door has not been dis- 
covered. The base is about 16 ft. square, 
and the total height 29 ft. 

St. Peter's Church, or Mosque of the 
Mussulman Dervishes, is a little church 
about 40 ft. by 70 ft. inside. It consists of 



a nave and aisles of three bays, each end- 
ing eastward in an apse. The bays of the 
nave are square, those of the aisles oblong, 
and all covered with groined vaulting on 
cross ribs. The piers are square, with 
only moulded imposts for capitals, and 
plain bases, but with small nook-shafts at 
the angles. The aisle-vaults spring from 
corbels against the side walls. Built in 
with other buildings, the chapel has no 
exterior. Its history is uncertain ; De 
Vogiie assigns it to the first half of the 
xii century. Its use as a mosque has pre- 
served it in unusually good condition. 

The Temple Terrace (Haram es - 
Sherif). It is not doubted that the site of 
the Temple of the Jews was the great ter- 
race that encloses the summit of Mount 
Moriah at the S. E. corner of Jerusalem. 
This is an irregular quadrangle more than 
a quarter of a mile long from north to 
south, and two-thirds as long from east to 
west, levelled up on high walls which fol- 
low the undulations of the rocky hill-side 
and against which, on the north and west, 
abut the buildings of the city ; while on 
the east is the Valley of Jehoshaphat and 
the brook Kedron, and on the south 
the Valley of Hinnom. The S. E. corner 
of the terrace stands more than 150 ft. 
above the surface of the rock and rests on 
enormous vaulted galleries, but half its 
height is covered by the debris which has 
accumulated at its foot. The south side 
of the terrace is occupied by the Mosque 
of El-Aksa {(-[. v.), beside which is the 
Triple Gate ; on the east side is the fa- 
mous Golden Gate (q. z'.), while the north 
and west sides are skirted by a row of 
small buildings broken by various gates 
leading from the town. In the middle is 
a platform rising some 16 ft. above the 
terrace, which an unbroken Jewish tra- 
dition holds to be the platform of the 
Temple itself. In this most modern au- 
thorities concur. This platform, which en- 
closes the summit of Mount Moriah (see 
Dome of the Rock) is about 450 ft. by 500 



186 



JERUSALEM 




Fig. 97. — lerusalem, Temple Terrace. 
1. Dome of the Rock. 2. Mosque El-Aksa. 

3 Mosque of Omar (probably), 4- Golden Gate. 

ft., and is reached by eight flights of steps. 
{See Fig. 97.) 

Solomon's tem])k\ iMinu'iI in 588 B.c, 
when Jerusalem was taken by the Chal- 
diBans, was restored by Zerubbabel on 
about the same plan as the original, bnt 
with much less richness, and remained 
until llerod undertook its complete re- 
construction with a view of renewing the 
splendor of Solomon. This with its acces- 
sory porticoes and other constructions was 
iinislied under the reign of Nero, and was 
destroyed by the soldiers of Titus, a.d. 70, 
after the memorable and tragic siege. The 
masonry of huge stones which forms the 
substruction of much of the wall is com- 



monly believed to be the work of Solomon 
or of Herod, bnt it has been subsequent- 
ly overljuilt by Roman emperors, Crusad- 
ers, and Turks. The site of the Temple, 
despised and even deiiled by Christians 
in the first centuries after Christ, was, 
we are told, occupied by Hadrian with a 
temple ; later, Justinian built on it a 
magnificent basilica, which was destroyed 
by the Persian king Chosroes, 614 a.d. 
Since the conquest of Jerusalem by Omar, 
637 A.D., it has been held peculiarly 
sacred by the Moslems, and the upper 
platform, through which the summit of 
Mount Moriah projected, is occupied by 
their cherished sanctuary the Dome of 
the Rock {q. v.). Of the structure of 
Herod considerable portions remain in 
the lower part of the walls, which are in 
great blocks, from 3 ft. to 6 ft. high, 
and 3 ft. to 23 ft. long (one block at 
the S. W. is about 40 ft. long), well 
jointed, and with a shallow draft around 
the edges. Next over this come stretches 
of Roman masonry in smoothed blocks 
about 3 ft. long, with no draft — doubtless 
of the time of Hadrian. Above these the 
often repaired walls are of various dates, 
but chiefly Moslem. A stretch of the 
ancient Herodian wall, 156 ft. long and 
56 ft. high, on the west side, not far from 
the S. W. angle, is the AVall of Lamenta- 
tions, where the Jews resort every Friday 
to weep over the destruction of Jerusalem. 
The nine lowest courses are of huge 
drafted blocks. Close by the S. W. angle 
are the abutments of Herod's bridge over 
the Tyropceon ravines. An English excava- 
tion here has laid bare a street pavement 
anterior to Herod, and below the pave- 
ment has been found part of the arch of a 
bridge in enormous stones, buried beneath 
the accumulation of ages, and perhaps 
contemporaneous with Solomon. On the 
platform are two cisterns, M-hich. though 
often restored, may be of the time of Solo- 
mon. One is beneath the Sakra rock, the 
original core of Mount Moriah, the other 



1S7 



JERUSALEM 



is before tlie Mosque El-Aksa. Tlie lat- 
ter cistern is a noteworthy structure, 
witli its roof supported on pillars of 
rock ; it is over 40 ft. deep, and about 
740 ft. in circumference. At the N. W. 
corner of the Haram es-Sherif, on the 
site of the present barracks, was found- 
ed at the time of the Maccabees, on the 
rock which here projected above the 
level of the platform, a strong, defensive 
tower called Baris. This was altered and 
enlarged by Herod, and became the noted 
citadel called Antonia. The Temple was 
thus at once the chief sanctuary, market, 
and fortress of the Jews. 

Tomb of Absaloh, so called, in the 
Valley of the Kedron, below the Temple. 
It consists of a cubical rock-hewn base 
about 20 ft. each way, isolated by a trench 
about 8 ft. wide cut vertically in the rock 
of the Mount of Olives, with a square attic 
of large stones over the Egyptian cornice 
of the base, upon this a circular drum, and 
finally a concave conical spire rising from 
a cable-inoulding at the top of the drum 
and ending in a finial like a tulip-flower. 
The height of the whole above the pres- 
ent surface is 47 ft. At the corners of 
the base are cut pilasters with quarter 
Ionic columns engaged on the inner sides 
as anta3, and two engaged Ionic semi-col- 
umns in antis on every face. Upon col- 
umns and antge rests an architrave, above 
which is a Doric triglyph-frieze of late 
foi'm, then a large torus, and upon this 
the Egyptian hollow cornice which has 
been mentioned. A hole has been broken 
into the interior chamber on one side by 
treasure-seekers. There is a door high up 
on the south side, from which a stair leads 
down within. The interior is ornamented 
with arcades. Despite the traditional at- 
tribution of this tomb, which is defended 
by De Saulcy, it is evident from its archi- 
tecture that it dates from a time Avhen the 
G-reek types had become profoundly de- 
based by Roman influence, and is doubt- 
less later than the foundation of the Em- 



pire. With such classical elements of the 
decadence are combined, in this curious 
monument, the Phoenician elements char- 
acteristic of the region. 

Tomb of Jehoshaphat, so called, in the 
rock of the Mount of Olives, on the east 
side of the valley of the Kedron beyond 
the Tomb of Absalom. It has a broad en- 
trance surmounted by a sort of pediment, 
and six rectangular interior chambers, 
some with niches, some without, commu- 
nicating by narrow passages. 

Tombs of the Judges, or of the 
Prophets, beyond the Tombs of the 
Kings, north of Jerusalem. They in- 
clude three rock-cut chambers, with a 
number of subordinate cells, all cut with 
many loculi, graves, and niches. 

Tombs of the Kings, north of the 
city. From a large, square rock-cut open 
vestibule a passage leads to a court 90 ft. 
by 81 ft., containing a cistern. On the 
west side lies the portal of the tombs 
proper, which formerly had two columns, 
now removed. It is ornamented witli 
sculptured wreaths, fruit, and foliage. In 
the vestibule is a small round cistern to 
which descends a flight of steps. A low 
passage from the vestibule leads into a 
chamber 19 ft. square, from three sides of 
which open tomb - chambers with rock- 
shelves and loculi. In one of these cham- 
bers was found a richly decorated sar- 
cophagus now in the Louvre. The Jews 
call this elaborate burial-place the Tomb 
of Zedekiah ; it is probable that it is in 
fact the tomb of Queen Helena of Adia- 
bene, which is refei'red to by Josephus. 

The Tomb of the Virgin and its 
church lie in the Valley of the Kedron, 
or of Jehoshaphat, close by the Garden of 
Gethsemane, under the walls of the ter- 
race of the temple. The soil, Avliich has 
filled the bottom of the valley to a depth 
of 30 or 40 ft., has completely buried 
the church, which is now subterranean. 
A small cubical porch about 25 ft. square, 
the only part above ground, covers the 



188 



JESI 



entrance. Its doorway is a double con- 
centric pointed arch, flanked by five 
Gotliic columns. Tlie inner arch is 
blocked by a wall, added for defence, 
wliieli reduces the door to the smallest 
limits. From here a broad flight of steps 
leads down 35 ft. to the church itself, 
which is a single nave about 60 ft. long, 
east and west, and 21 ft. wide. It is 
partly groined and partly barrel-vaulted, 
and has an apse at each end, the entrance 
being at the south arm of a sliort transept 
near the west end. The eastern apse is 
the choir of the Greeks, and in front of it 
is the tonilj, an isolated square marble 
chapel which is said to enclose the sepul- 
chral cave in which the body of the \'ir- 
gin lay from her death to her assumption. 
^J'lie Abyssinian Church has its altar be- 
fore tlie western apse ; the Armenians 
have built one against the tomb ; the 
Moslems have a prayer-niche in the south 
wall. Tlie architecture is as simple as 
possible, without any features except a row 
of windows which once lighted the cliurch, 
but are now completely blocked by the 
accumulated earth outside. Two small 
cliapels opening out to right and left on 
tlie entrance stairway are called the tombs 
of tlie N'irgin's pai'ents and of St. Joseph. 
Near by, but entered from outside, is a 
cave in the rock, believed to be the scene 
of Clirist's agony on the night of his ap- 
prehension. A church on this spot is 
mentioned l)y John of Damascus as early 
as tlie V cent., but the tradition that it 
was built by the Empress Helena is un- 
supported. It is often spoken of by hi- 
ter pilgrims, and was riiinod or fell into 
decay. Godfrey of liouilloii fouiulcd :i 
Glunisian (Benedictine) monastery here 
directly after his establishment at .leru- 
salem, and the present church was proba- 
bly built for tliat monastery. 
JESI, near Ancona. Italy. 

The brick church of S. [Makco is in the 
fine late Romanesque vaulted style of the 
xiii or early xiv cent., witli an admixture 



of pointed elements. The nave consists 
of four square bays and measures about 
150 ft. by 55 ft. The eight low pointed 
arches are supported on octagonal piers, 
and two square bays in the side aisles cor- 
respond to each bay of the nave. All the 
vaults are ribbed with a simple torus 
moulding. In the fa9ade is a large rose 
window with a double band of decoration, 
the inner being a combination of sculpture 
and circles of majolica. The one large 
round-headed doorway has heavy twisted 
colonnettes and mouldings. This chitrch 
is important for the history of architecture 
in the Marches of Ancona. [A. L. F.. 
Jr.] 

KALAT EL-MUDIK. See Apameia. 
KALAT SIMAN, Xorthern Syria. 

The great cliurch of St. Simeoin" Sty- 
LITES was the largest and most important 
in central Syria. It is recognizably de- 
scribed by the historian Evagrius, a cen- 
tury after the saint's death in 459, and 
De Vogiie ascriljes it to the latter half of 
the V century. The jjillar on M'hich St. 
Simeon had passed his later years was 
made the centre of an open octagon or 
Ii//p(ef/inni>, from which the four arms of 
the cliurch radiated east, west, north, and 
south. Though the cliurch is ruined, 
enough of it still stands to show its whole 
form and structure. The arms were like 
so many basilicas, with nave and aisles 
separated by arcades of seven bays (except 
the eastern, which was longer) carrying a 
clerestory, and ending in an open porch 
or colonnaded portico. Tlie eastern arm, 
kMigthcned to ten bays, ends in three 
windowed apses. l)eing perhaps the earliest 
known example of a triapsal church. The 
whole length of the church east and west 
is ooO ft., north and south 300 ft. The 
central octagon is inscrilied in a circle of 
100 ft. radius : the naves arc 30 ft. wide, 
the aisles IS ft. The columns, standing 
on pedestals, are ^1 ft, high, and the 
whole walls 49 ft, While the four naves 
abut ao-ainst the four cardinal sides of the 



ISO 



KALAT 



octagon, the aisles are continued along its 
diagonal sides, connecting tlie four arms, 
and small apses are set in the angles be- 
tween them. Each face of the octagon 
ojjens in a great arch flanked by two de- 
tached columns, so as to give from all 




Fig. 



-Kalat Siman. 



parts a clear view of the central column. 
The clerestory was a continuous row of 
round - arched windows, between which 
stood a series of colonnettes on corbels, 
carrying other corbels that supported the 
roof-trusses. There is no indication of 
any roof gables, so that apjoarently the 
upper cornices were horizontal through- 
out, and the roofs of the naves seem to 
have been hipped. The main apse, which 
is large, and as high as the nave, is deco- 
rated without by two ranges of applied 
columns, separated only by corbels, the 
upper range carrying an arched corbel- 
table which bears the main cornice. In 
front of the south arm of the cross, where 
the main entrance is, there is a striking 
open porch, or narthex, opening with 
three broad arches, the middle one very 
broad, which are surmounted by gables. 
Four doors lead from this porch into the 
church, two of them into the nave. 
Above it the clerestorv is returned across 



the front of the nave, ending appar- 
ently like the rest in a horizontal cornice. 
This church has been cited as the first 
instance of the cruciform type of church 
which afterward pervaded Europe, but it 
is to be noted that it is not so much a sin- 
gle church as a collection of four naves 
about an open centre, the occasion of 
which, the sacred pillar at that centre, 
was the focus of observation from every 
side, and that the arms were divided from 
each other by this main object of interest, 
while the service, here apparently second- 
ary to the adoration of the pillar, appears 
to have been held only in the eastern arm, 
where the apses were. It seems to have 
remained absolutely without imitation in 
the East, while the cruciform type was 
developed in the West. The architectural 
details, however, here as elsewhere in 
central Syria, are curiously suggestive of 
forms that were used later in Komanesque 
architecture, especially in the south of 
France. {See Fig. 98.) 

In the century after St. Simeon's death 
his reputation grcAv enormously ; the 
crowd of followers who had gathered about 
him in his lifetime increased to a con- 
siderable community. The large group 
of buildings which is enclosed within the 
same surrounding wall with the church, is 
doubtless a convent annexed to it. Iii it 
are found a small basilica, as for private 
services, cloistered courts, and the various 
rooms necessary to such an establishment. 

At the foot of the hill where St. Simeon 
stands, is an interesting group of build- 
ings now called Der Siman, or Simeon's 
Convent. The principal buildings, gabled 
and unroofed, are surrounded by porticoes 
in two or three stories, built of large 
monolithic pilasters and beams, and now 
standing disconnected. One house is 
connected by a stone trestle-bridge with 
higher ground adjoining it. The road that 
leads up to the church is spanned by a 
triumphal arch of peculiar form. It is a 
single wall, joierced by an arch of about 



190 



KALB 



24 ft. span and nearly tlie same height. 
The deep voussoirs bear on columns de- 
tached in the line of the wall, and the 
piers are stayed by lateral buttresses 
which give them the shape of a T in 
plan, and which, ending in colonnettes, 
receive the corbelled cornice that crowns 
the whole ai'ch. 
KALB LUZEH, Xortliern Syria. 

The CiiUKCH, whicli is ascribed to 
the VI cent., is much lilce that at Ru- 
weilia in plan, though somewhat small- 
er, without its cross-arclies, and I'ieher 
in detail. It is about 55 ft. by 115 ft., 
consisting of a nave and aisles with pro- 
jecting eastern apse, and an open nar- 
thex between two square towers at the 
front. The nave, 25 ft. by 85 ft., is 
separated from each aisle by an arcade 
of three broad arches carried on low- 
wide piers. Tlie clioir, raised some 
four feet, ends in the large domed apse 
faced by a heavy sculptured archivolt. 
Over the main arcades is a clerestory 
of many small windows, nearly square, be- 
tween wliieh were ranges of colonnettes, 
resting on corbels and bearing other cor- 
bels tliat supported the trusses of the ga- 
bled roof. The porch 
was entered tlirougli a 
very broad low arch, 
like those that line the 
nave, and the apse was 
decorated on the out- 
side with two stories of 
engaged colonnettes 
se})arated only by cor- 
bels, and sujiporting 
a heavy oorbeUed cor- 
nice. The church is 
r u ined , but all its 
principal features sur- 
vive. Its massive de- 
tail is set off by abun- 
dant decorative sculpt- 
ure of great spirit and 
riclmess. aud its de- 
sign anticipates in a 





Fig. 99. — Kalb Luzeh, 
Church, from de Vogue"s 
Syrie Centrale. 
Scale of 50 feet. 



Fig. 100.— Kalb Luzeh, Church. 

singular way many of the characteristic 
features of western Romanesque architec- 
ture. {See Figs. 99, 100.) 
KANAWAT (anc. Maximianopolis), Hau- 

ran, Syria. 

Tlie Basilica was a building of the 
Roman type rather than the Syrian, the 
aisle being continued across the ends of 
the nave, where it had a second story as 
in Sta. Agnese at Rome. The lateral ar- 
cades were in five bays, the arches resting 
directly on the capitals of the very plain 
columns, which stood on pedestals, and 
the middle arch on each side being con- 
siderably wider than the others. There 
was a single round projecting eastern apse, 
flanked in the eastern fashion by the pro- 
thesis and diaconicon. The original roof 
was of wood, but was replaced in later 
alterations in the usual Syrian fashion by 
one of stone slabs resting on cross-arches, 
which were added, imbedding the col- 
umns. In front was an open atriuni ar- 
caded on all sides like the nave, and before 



191 



KASK 



this au open portico or nartliex, support- 
ed on au order of larger aud richer com- 
posite columns. Adjoining this basilica 
is a smaller one at right angles to it, built 
into the body of an older building at the 
same time, apparently, that the alterations 
were made in the larger church. It is of 
the ordinary Syrian type with cross arches 
carried on piers. lu against its side is 
another open ai'caded narthex, remaining 
from the older building, with the entab- 
lature bent over the central arch, as at 
Spalato and Damascus. The alterations 
probably date from the v ceut. ; the older 
buildings can hardly be older than Dio- 
cletian. The smaller and newer basilica 
is duly oriented ; the axis of the older is 
north and south. 

Temple of Helios (the Sun), outside 
of the town, on an elevation in the middle 
of the valley. It stands on a basement 10 
ft. high, with a flight of steps in front. 
It is Corinthian, peripteral, hexastyle, 
with eight columns on the flanks. There 
is an interior range of columns before the 
portal. The columns, ten of which re- 
main standing, are about 25 ft. high and 
rest on pedestals 4| ft. high. The plan 
measures about 46 ft. by 64 ft. The style 
and execution are excellent, and testify to 
early Roman date. 

Temple of Jupiter, in the southern 
part of the town, in plan about 98 ft. by 
46 ft., prostyle, with four great columns 
about 32 ft. high, and two smaller in- 
terior columns in antis before the portal 
in the pronaos. In the back wall there 
were two niches, one over the other. The 
temple is of good style and eai'ly Roman 
date. Its attribution is shown by in- 
scriptions on the bases of the columns. 
Near this temple, remains of statues, etc., 
seem to indicate a hippodrome. 

Roman Theatre, without the walls, 
on the right bank of the brook. It is al- 
most entirely hewn from the rock, and is 
about 6.3 ft. in diameter, with nine tiers of 
seats, the lowest raised 4| ft. above the 



orchestra. There is a cistern (?) in the 
middle of the orchestra. Besides the 
usual entrances at the sides of the stage, 
it is described as having an entrance in 
the middle of the proscenium. 

A great part of the circuit of the 
Roman Walls survives, with numerous 
square towers. A number of paved streets 
can be followed, and many remain of the 
stone houses of the Hauran, with tlieir stone 
doors and windows. There is a small tem- 
ple, or nymphseum, over a sjDring, a circu- 
lar tower 27 ft. in diameter, perhaps a mau- 
soleum, both these without the town, and 
abundant remains of j)ublic buildings, with 
sculpture and columns, besides pre-Eoman 
ruins of towers aud walls in very massive 
masonrv, and a beautiful ancient aqueduct. 
KASR ^RABBA. See Bet el-Kann. 
KATARA. See Balhoura. 
KHIRBET HASS, Syria. 

Moxumext of DioCtEXes, of the iv 
century a.d. The substructure is cubical, 
with a decorated portal preceded by a 
porch. The second story is also cubical, 
with a peristyle ; and the monument is 
crowned by a pyramid. There are many 
other interesting tombs in the necropolis 
of Khirbet Hass, some vaulted, others 
cut in the rock. Two are entered by de- 
scending inclined planes. There are also 
interesting groups of well-preserved do- 
mestic and ecclesiastical buildings, includ- 
ing two churches, all substantially like 
those that remain at El-Bara (</. v.). 
KIRJATH JEARIM. See .4J«-G^0iA. 
KODJA YAILEH. See Melassa. 
KREMNA (Germe), Pisidia, Asia Minor. 

The ancient remains comj)rise a theatre, 
temples, a colonnade, and the ruins of a 
triumphal arch, all of comparatively late 
date. It is the architecture of a period of 
decadence, pretentious and heavy, but of 
interest and importance as illustrating the 
falling away of Hellenic types from earlier 
ideals, and the modifications introduced by 
the Greco - Roman architects under the 
Empire. 



192 



CONSTANTINOPLE- MOSQUE OF SULEIMAN 



KROTONA 



KEOTONA. See Cotrona. 
LABRANDA, Caria, Asia Minor. 

Temple (of Zeus ?). It is Corintliiau, 
peripteral, hexastyle, with eleven columns 
on the flanks. The height of the columns 
is nine and a half diameters ; in some of 
their flutes are left small fillets, which are 
inscribed with the names of benefactors. 
The frieze is convex, the cyma ornamented 
with lion-heads. The cella had two col- 
umns in ant is in both pronaos and opis- 
thodomos. Sixteen columns remain stand- 
ing with part of their entablature ; those 
on the south side are i;nfluted, and the de- 
tails of architrave and frieze unfinished, 
showing tliat the temple was never com- 
pleted. The columns have square plinths, 
the stylobate is buried in debris. The 
material is white marble. 
LANCIANO (anc. Anxannm), Ital}^ 

The BiUDGE is ascribed to the iil cent., 
and called Diocletian's, but was rebuilt at 
the beginning of the xiii. On it stands 
the chapel of S. M. del Ponte, rebuilt at 
the same time, in Gothic style, but dating 
from the xi century. 

S. GiovANJfi I2f Yexere, a ruined 
church near the town, is a basilica with 
transept and crypt, believed to date from 
Justinian's time, and once adjoined to a 
Benedictine monastery. The sculptured 
facade of brick and stone probably belongs 
to the xir cent., with alterations of the 

XIII. 

Sta. Maria Maggiore, consecrated in 
1227, has a brick and stone horizontal- 
topped fa9ade, with a handsome wheel 
window, the doorway and windows deco- 
rated with twisted shafts and carved detail 
partly Lombard Romanesque, partly Nor- 
man. The faQade, one aisle, and tower 
are original, the rest modernized. 
LAODICEA AD LYCUM (Eski Hissar), 
Asia Minor. 

Odeum, north of the Stadium, partly 
excavated from a hill-side, and fronting 
south. The exterior diameter is 137 ft., 
tliat of the orchestra, 77 ft. Pococke saw 



but eight tiers of seats, but thought there 
must have been at least twenty. The back 
wall of the stage, now in ruins, had three 
doorways, the middle one 20 ft. wide, 
those on the sides 12 ft. wide ; between 
the doorways and on each side, on pedestals 
about 6 ft. high, were conpled composite 
columns. The marble remains and sculpt- 
ures show that the building was highly 
adorned. 

Stadium, or Hippodrome, excavated 
from the side of the hill at the south end 
of the city. It was built 79-82 A.D., 
according to an inscription. It was about 
1,000 ft. long and rounded at each end, 
where there was an arched entrance 11 ft. 
wide. Of the seats, twenty-three tiers re- 
mained in Chandler's time. 

Theatre, excavated in the side of a 
steep hill. The plan embraces a little 
more than a semicircle ; the exterior 
diameter is 364 ft. ; that of the orchestra, 
136 ft., the distance from the stage to the 
outer wall of the cavea is 223 ft. ; the 
length of the stage structure about 143 ft. 
The seats are divided by a precinction or 
horizontal corridor about 10 ft. wide into 
two ranges, the lower of twenty-two tiers, 
the upjDcr of twenty-six. The back wall 
of the stage was elaborately decorated ; its 
columns were Ionic of unusual design, 
like some in the Zeus temple at Aizanoi, 
their bells bearing acanthus leaves beneath 
the volutes. 

There is an ancient colonnaded street, 
extending both within and without the 
walls of the city, also an interesting aque- 
duct consisting in part of arches of small 
stones, in part of cylindrical stone pipes 
laid on the surface of the ground, and an 
extensive necropolis. 

LAODICEA AD MARE. See LataMa. 
LA RICCIA. See Ariccia. 
LATAKLi (Ladikiyeh, anc. Laodicea ad 
Mare). Syria. 

Tlie Tetrapyle Arch, a four-faced 
triumphal arch, is due perhaps to Septi- 
mius Severus, who did much to beautify 



193 



LECCE 



Laodicea. It spanned two cross-roads, 
and is a mass of cut stonework about 40 
ft. square and considerably higher. It is 
pierced by two archways at right angles, 
and on the principal front the arch, 
higher than the others, is flanked by en- 
gaged Corinthian columns. These carry 
a full entablature, which bears a pediment, 
and is continued round all four sides. An 
attic above it was decorated Avith reliefs. 
The interior is covered by a dome resting 
on an octagonal cornice, which is supported 
over the angles by triangular pendentives. 
LECCE, Italy. 

SS. NiccoLO E Cataldo, an interest- 
ing Eomanesque church of the xii cent., 
rectangular in plan, consisting simply of 
nave and aisles separated by five pointed 
arches on each side springing from square 
piers with a half column on each face. 
The aisles are divided into square groined 
bays by transverse arches with responds on 
the aisle walls. Tlie middle bay of the 
nave is covered by a lantern and ellij)tical 
dome, the others by a slightly pointed 
barrel-vault. The middle bays of the 
aisles form a transept, and show without in 
high transverse gabled roofs. The front 
was modernized in 1194 with the exception 
of the doorway. The walls of aisles and 
clerestory have flat pilaster-strips, ending 
in arched corbel-tables. The central lan- 
tern, of conspicuously Byzantine character, 
elliptical within, is externally octagonal 
with angle - shafts carrying a decorated 
round archivolt on each face with a round 
window, and crowned with a plain octag- 
onal dome. The church was part of a 
monastery founded by Tancred in 1180, 
and replaced an earlier church. 
LEGHORN (Livorno), Italy. 

The Cathedral is a Renaissance church 
built about the end of the xvi cent, from 
the designs of Alessandro Pieroni, called 
a pupil of Vasari. It has a nave about 
50 ft. wide without aisles, covered by a 
flat wooden ceiling, the walls broken by 
an order of pilasters with six intervals. 



each with a large window. Flanking the 
easternmost bay are two chapels with 
domed ceilings forming a transept exter- 
nally, but closed within by the walls of 
the nave. There is a small rectangular 
choir ending in a round apse. The front 
has an arcaded and vaulted portico of 
coupled columns by Inigo Jones, forming 
a portion of the arcades of the public 
square on which the church stands. 
Three doorways under this portico give 
entrance to the nave. 
LESINA, Dalmatia. 

The Cathedral and its campanile date 
from the xvi cent. ; the choir may be 
older. The fa9ade, imitated from the 
duomo of Sebenico, has a semicircular ga- 
ble with a quadrant on each side closing 
the aisles. There is a Renaissance door- 
way with sculptured tympanum, appar- 
ently older than the rest. It is a three- 
aisled church, the nave modernized and 
stuccoed. The choir has some carved 
walnut stalls of the xv cent., and at each 
side of its entrance stands an octagonal 
stone pulpit on columns of Venetian 
Gothic, and a stone lectern. 
LIVORNO. See Leghorn. 
LOCRI (anc. Lokroi), near Gerace, Italy. 

Temple of Persephoxe (?) (Proser- 
pine). Nothing remains in situ of this 
important Greek temple except parts of 
the foundations, which were discovered 
by Petersen in 1889 ; but excavation has 
yielded material for a practically complete 
restoration, as well as of that of a much 
older temple on the same site, and has 
given important data for the character of 
the early Ionic order of the temple and 
its plastic decoration. The stylobate, 
measured on the uppermost step, is 57 ft. 
by 143 ft. ; the cella, 65 ft. by 36 ft. The 
temple was a perijjteros of six columns by 
seventeen on a st^dobate of three steps, 
with two columns in antis in both pro- 
naos and opisthodomos, and dated from 
about the middle of the v century B.C. 
The bases of the columns with round 



194 



LOEETO 



plinths were carved in one piece with the 
lowest drnms. They are very like those 
of the lierasum at Samos. The lower di- 
ameter of the shafts, which had twenty- 
four shallow fintes, was 3 ft. 1 in. Their 
height, including the capital, is reckoned 
at 29 ft. The shafts ended above in 
a beautiful though archaic anthemion 
moulding and a plain astragal. The vo- 
lutes of the capitals are very simple, and 
close in type to those of the Her^um of 
Samos. There are traces of red color on 
the coluhius. The water-channels of the 
cornice bore the usual lion-heads. Ke- 
mains have been found of the sculptures 
of the western pediment, the 
chief pieces being : a triton, a 
horse, the torso of a youth, and 
a headless female figure, in Pa- 
rian marble and of excellent de- 
sign. 

The older temple occupied the 
same site as its successor, with 
the east end of which its east 
end almost coincided, except for 
some diiference in orientation. 
The entrance portico projects so 
much that there may have been 
a second range of columns in it ; 
though it is more likely that the 
ceiling and superstructure were 
entirely of wood. The pronaos 
had columns, no doubt two, i)i 
ant is. The structure of the 
foundations gives indication 
that the simple cella in ant is was 
the original temple, and very 
old, perhaps almost contempora- 
neous with the foundation of the 
city early in the vii cciitury H-O. 
The peristyle was much later. 
l)erliaps not much earlier than 
the reconstruction of the v cen- 
tury. Some remains were found of 
sheathing - plates in terra -cotta painted 
with braids and leaf-ornaments in black, 
dark red. and yellow, of archaic design. 
Koldewey conjectures that both new and 



old temples were heptastyle, and. that their 
cellas had a central range of columns. 
The new temple, except for its greater 
length, would thus practically reproduce 
the old, and both would then resemble the 
so-called Basilica at Paestum, and the 
early temple at Neandria, a class which 
may have had more examples in the an- 
cient Greek world than has hitherto been 
recognized. 
LORETO, Italy. 

Chiesa BELLA Sta. Casa. The pres- 
ent imposing church is the result of suc- 
cessive enlargements and rebiiildings of 
the church which was built in the early 




Fig. 101.— Loreto, Church of Santa Casa. 

years of the xiv cent, over the House of 
the Virgin, transported miraculously from 
Nazareth and set down on the shore of 
the Adriatic. Its plan is a Latin cross 
about 330 ft. long and 235 ft. wide across 



195 



LUCCA 



the transept. The original church was 
Gothic, and the Gothic forms are still pre- 
served in the nave and aisles, which are 



j^^'^W^^'^- '■^'-'^*^. "^^ '^'' 



J-'^ft V 1% ' 



^n.'^ 



'i' 



a 




Fig. 102. — Loreto, Santa Casa. 

separated by arcades of six pointed arches 
on each side springing from square piers 
with foliage capitals and stilt-blocks. The 
bays of the nave and aisles are groined, and 
in the outer wall of each aisle bay is a rect- 
angular altar-niche. The crossing is cov- 
ered by a high octagonal dome raised on a 
drum, about 60 ft. in diameter, supported 
by eight massive piers, which are joined by 
round arches higher and broader in the 
four cardinal faces than in the others. 
The faces of the drum are pierced by 
square-headed windows enclosed in heavy 
moulded architraves and pediment caps, 
and the whole treatment of this central 
portion of the church is in the style of the 
XVI cent. Eenaissance. The plan of the 
eastern half is very elaborate, the central 
octagon is surrounded by aisle bays, and 
the transept and choir are iianked by 
aisles, and all have a|)sidal ends. In each 
external angle of the cross is a turret. 
The Holy House, for the protection of 
which the church was built, occupies a 






position under the central dome. It is a 
brick building about 16 ft. wide and 30 
ft. long internally, and about 13 ft. high, 
enclosed within a very splendid 
marble casing about 28 ft. high, 
designed by Bramante, or, as 
some say, by Sansovino, who ex- 
ecuted it, with coupled Corin- 
thian columns standing on ped- 
estals and carrying an entabla- 
ture and balustrade, the inter- 
vals filled with panels charged 
with bas-reliefs and statues in 
niches by Sansovino, John of 
Bologna, and other masters. The 
house is entered by bronze doors 
executed by Girolamo Lombar- 
do. In the exterior, Gothic and 
, ~ i Renaissance forms are mingled. 
The central dome and the fa- 
_ Qade are wholly Renaissance, the 

^ former the work of San Gallo 
and Bramante, and occupying 
the greater part of the xvi 
cent, in building — the bold and pictu- 
resque front by Calcagni, finished in 1587. 
The fa9ade, in two stories, is divided by 
coupled Corinthian pilasters into three 
compartments, each containing in the 
lower story a richly decorated doorway. 
The upper story, with only the breadth of 
the nave, is covered by a pediment and 
connected by broad scrolls with the cornice 
of the order below. At the north angle 
of the fa9ade is a detached bell-tower with 
four stories of pilasters and columns 
crowned by a bulbous spire, the upper 
part added by Vanvitelli. {See Figs. 101, 
102.) 
LUCCA (anc. Luca), Etruria, Italy. 

Roman Amphitheatre, still surviving 
to a sufficient extent to fix its plan and 
dimensions, though its interior area is 
now occupied by the Piazza del Mercato. 
Portions are visible of the exterior walls, 
particularly in the N. E. quadrant and 
about the chief entrance, which is at the 
eastern extremity of the long axis. The 



196 



LUCOA 



exterior facing consisted of two tiers, eacli 
of fifty-four arches framed by columns. 
The level of the arena is 11 ft. below the 
present surface of the piazza. It is esti- 
mated that the amphitheatre could receive 
nearly eleven thousand spectators. The 
date is late in the first cent. a.d. or early 
in the second. The exterior axes are 400 
ft. and 310 ft. ; those of the arena 258 ft. 
and 172 ft. The height of the exterior 
wall was 48 ft. 

The Cathedral (S. Martino) is a 
very ancient Lombard church which has 
undergone important changes at various 
times. It is cruciform, some 275 ft. long 
and 140 ft. across the transept, with a 
nave about 30 ft. wide and aisles 22 ft. ; 
nave - piers composed of four pilaster- 
faces with octagonal shafts in the angles, 
high jiedestal-like bases and large foliated 
capitals. The pilaster toward tlie nave 
is carried up through the triforium and 
clerestory to take the spring of the trans- 
verse arches across the nave. The nine 
nave-arches are round except the eastern- 
most, without mouldings ; and above them 
is a triforium, opening from the nave by 
two round arches to each bay, each arch 
divided into three lights with Gothic 
tracery in the heads. Above is a small 
rose in each liay under the pointed arch of 
the vault. Tlie aisles are lighted by lan- 
cet windows high in the wall. The tran- 
sept has an eastern aisle with two bays in 
each arm and clerestory as in the nave, 
but with pointed arches. Tlie nave-arches, 
with the wall of the triforium and clere- 
story, are continued across the transept on 
either side. The choir ends in a high 
round apse. The pavement of the nave 
has an inlay of colored marliles, represent- 
ing the Judgment of Solomon. The ex- 
terior is of unusual interest. The fagade, 
rebuilt in 1204, but of which the details 
are substantially those of the old front, 
resembles in style the cathedral of Pisa, 
but is treated with greater breadth and 
richness of decoration, though with less 



elegance of proportion and detail. It is 
in four stages, banded in white and black 
marble, of which the first consists of an 
open vestibule or loggia with three great 
round arches springing from compound 
piers and surrounded with moulded and 
decorated archivolts. Within the vesti- 
bule the wall is panelled by pilasters and 
blind arches, three of which contain en- 
trance doorways with bas-reliefs in the 
tympana. That over the left-hand door 
is a Deposition by Niccolo Pisano, dat- 
ing from 1233. The upper stages con- 
sist of arcades on columns extending the 
whole breadth of the front and crouching 
beneath the sloping eaves of the aisles. 
The columns are of varied design, the 
shafts plain, twisted, coupled or covered 
with sculpture in relief ; and the spandrels 
are charged with an inlay of black and 
white marble representing hunting scenes 
with men and animals in vigorous action. 
Round-arched windows in each of these 
galleries, half hidden behind the columns, 
give light to the interior. The upper 
gallery covers only the breadth of the 
nave. A tall square campanile rises from 
the south angle of the front with a bat- 
tlemented top and with its many stories 
separated by strong arched corbel-tables, 
under which are narrow round-headed 
windows increasing in number with each 
story. The sides of the church are ele- 
gant in design. The interior bays are 
indicated by flat panelled buttresses, termi- 
nating in gabled niches. Each bay con- 
tains a blind arch, under which is a gabled 
lancet window and above it a blind arcade 
with a cornice and pierced balustrade. 
The wall is everywhere banded with 
courses of black marble. The aisle roofs 
are flat, and above them the clerestory 
wall is ornamented with a blind arcade on 
columns and a rose window in each bay. 
The east end is also noteworthy. It has 
a blind arcade enclosing broad round- 
arched windows, and above this an open 
arcaded gallery with smaller arches and 



197 



LUCCA 



detached columns crowned by a dee- 
orated cornice. This treatment is con- 
tinued around the apse. The church ap- 




Fig. 103.— Lucca, Cathedral. 

pears to have been founded about tlie 
middle of the vi cent, and destroyed by 
war not long after. It was rebuilt, and 
after becoming ruinous was again restored 
from 1050 to 1070, being consecrated in 
the latter year. The front was rebuilt in 
1204 by Giudetto, the transept and per- 
haps the apse from 1308 to 1320. {See 
Fig. 103.) 

Palazzo Guinigi, a Gothic palace, in- 
teresting for the simplicity and elegance 
of its design, and its perfect j)reservation. 
It has two fagades of brick and terra-cotta, 
of which the larger is about 85 ft. long. 
The first story is an arcade of round 
arches, nearly 15 ft. broad, springing 
from low plain square piers of cut stone ; 
the entrance arch being distinguished 



from the others by slightly increased 
height and additional mouldings. The 
two upper stories consist of brick arcades, 
enclosing each a group of 
four narrow pointed and 
cusped openings divided 
by slender shafts with fo- 
liated capitals and sur- 
rounded by an archivolt 
decorated with ball-flowers. 
Beneath the string-courses 
are ranged singular round 
openings or oculi, with 
richly decorated mould- 
ings. • The side front is 
prolonged in a wing of 
somewhat later construc- 
tion with two-light win- 
dows under bearing-arches, 
at the extremity of which 
rises a square battlement- 
ed tower, of stone at the 
base and of brick above, 
about 140 ft. high. 

S. Anastasio, a little 
church, consisting only of 
a nave and apse, with a 
_ ,^ __^_ lateral campanile, but in- 

teresting as a simple Lom- 
bard building of the viii 
cent., with alterations of the xiii. It is 
of brick, banded with white marble, with 
a dado of the same. The walls, the apse, 
and front and side doors are of the first 
period ; the doors of the kind charac- 
teristic of Lucca, with heavy pilasters and 
caps bearing animals, heavy carved lintels 
carrying stilted round arches with impost- 
mouldings and solid tympana. The two- 
light windows high in the fagade and the 
arcaded brick cornices are xiii cent, 
work ; the open belfry stage is later. 

S. Fkediano, an ancient Lombard 
church, originally built in the vi cent., 
just outside the city walls, and rebuilt in 
690. It was a five-aisled basilica, some- 
thing over 200 ft. in length by 80 ft. in 
breadth, with twelve bays divided by 



198 



LUCCA 



twenty-two columns mostly antique, suj)- 
jDorting round arches, and a liigli clere- 
story. The nave was covered with an ojDen 
timber-roof decorated with gold and carv- 
ing ; this has been replaced during the 
present century by a simpler wooden roof. 
The aisles are covered with groined vault- 
ing in square bays, but the outer aisles are 
noAv converted into square chapels. The 
nave terminated in a round eastern apse. 
But when the town walls were rebuilt in 
13G0, the church found itself within the 
walls and its orientation Avas reversed. 
The eastern apse was taken down and re- 
built on the west end, and a new fa9ade 
built at the east end. An atri- 
um was added, which was 
burned in 1314 and not replaced. 
The present front has three gal- 
leries of columns with horizontal 
entablatures, a mosaic in the ga- 
ble and an eagle crowning the 
apex. The fine apse is lofty, 
with two stories of round-arched 
windows and an eaves-gallery of 
tall Corinthian columns bearing 
a horizontal cornice. At the 
angle stands a very high de- 
taclied square campanile with a 
solid base as high as the aisle 
walls a-nd five stories of narrow 
round-arched windows generally 
grouped and multiplying toward 
the top, with an additional bel- 
fry stage of clumsy modern 
arches. {See Fi[/. lOJf.) 

S. GiovAN^Ni, an old basilica 
over whose age there has been 
much controversy. It has a 
nave and aisles of six arcaded 
bays, carried on columns of 
which some apparently are old, 
flat ceilings, projecting transept 
and apse, and a battlemented 
tower. Out of the left transept arm opens 
an unusually large square baptistery, 
about 50 ft. wide, covered with an eight- 
celled domed vault. The church, Lom- 



bard in aspect, has been assigned both to 
the IX and the xii centuries. Apjsarently 
it was first called Sta. Reparata, and the 
name of S. Giovanni, once given to the 
baptistery, has extended to the whole. 
The coffered ceiling of the nave and the 
fa9ade are modern, though the old west 
middle door remains. 

Sta. GriULiA, a small rectangular church 
without aisles or transept, but with an 
eastern apse, built in the second half of 
the X cent, by Bishop Conrad, and re- 
stored early in the xiii century. It has a 
characteristic f a9ade of white marble, with 
occasional bands of black marble. Three 




Fig. 104. — Lucca, S. Frediano, Apse. 

blind arches on flat pilasters w^ith foliated 
capitals occupy the Avhole breadth of the 
front and rather more than half its height. 
In the middle arch is a square - headed 



199 



LUCCA 



door-way witli a decorated cornice joining 
the pilaster capitals, and a bas-relief in 
the arch-head. A pointed two-light win- 
dow is the only other opening in this sim- 
ple front, which finishes with a low gable, 
and a flat corbel-table with cusped arches 
following its rake. The sides and east end 
are of brick, with narrow, ronnd-headed 
ciTsped windows, the small apse finishing 
with a monlded cornice and arched corbel- 
table. A square campanile, attached to 
the N. E. corner, rises scarcely above the 
east gable, and is apparently unfinished. 
The buildings attached to the church on 
the north are of the same character with 
it and apparently of the same age. 

S. GiusTO. A XII cent. Lombard 
church with many of the characteristics of 
the Pisan school. It has a fine front of 
white and black marble, with three char- 
acteristic doorways, of which the central 
one is of great beauty. The jambs are 
flat pilasters, with large foliated capitals, 
each with a rampant animal at the angle. 
These support a heavy sculptured lintel. 
Over this is a round arch with banded and 
moulded archivolt springing from lions 
upon pedestals and enclosing a bas-relief of 
the Virgin and Child. Over the doorway 
the central portion of the front is carried 
u|) in two stories of arcades with columns 
ending in a low gable. The upper part 
of the front is banded with black and 
white marble. This front is presumed to 
have been built about 1150, largely out of 
the materials of an older front, and may 
perhaj)S exhibit the detail of the Lom- 
bard style of the viii century. The inte- 
rior has been modernized. 

Sta. Maria Fuorcivitas, an early flat- 
ceiled basilica, apparently rebuilt in the 
XII century. It is cruciform, with pro- 
jecting transept and an eastern apse. The 
arcades of the nave, in eight bays, rest on 
early columns, but are broken in the mid- 
dle by a pair of piers. It is Lombard in 
style, and has an eaves-gallery round the 
apse with lintels instead of arcades. The 



front, however, was remodelled in 1516, 
and the interior height increased. 

S. MiCHELE, a characteristic Lombard 
church of the Pisan type. It is a cruci- 
form basilica, with nave and aisles sepa- 
rated by seven stilted round arches on 
each side, resting on columns of white 
marble with somewhat fantastic capitals, a 
high triumphal arch opening into a broad 
transept with square ends, and a round 
apse the full breadth of the nave. The 
fa9ade, rebuilt toward the end of the 
XII cent, and again completely renewed 
since 1870, is most interesting. It is con- 
structively a mere screen, having no rela- 
tion with the church, but illustrating, in a 
highly characteristic manner, the j)eculi- 
arities of the Pisan school. It is divid- 
ed into five stories of arcades, of which 
the first story has seven high round blind 
arches, three of them containing door- 
ways, the second and third fourteen arches 
each and the upper two each six, covering 
only the nave, though rising high above 
its roof. The low gable is crowned by a 
statue of the archangel Michael with 
bronze wings. The distinction of the 
fagade is in the variety and character of 
its details. It is executed throughout in 
white and green marble. The columns of 
the arcades are extremely varied, some 
shafts are quite plain, some are sculpt- 
ured, some inlaid with marble, some are 
coupled and bound together in the mid- 
dle, with a single capital and base. The 
cornices and string-courses are carved 
with foliage and animals in relief, and the 
wall over the arches is covered with an in- 
lay of panels of various forms, arranged 
quite at random, partly with geometrical 
patterns, but for the most part represent- 
ing hunting scenes. These designs though 
rude are spirited, the figures are of white 
marble on a ground of dark green serpen- 
tine. The sides of the church have two 
stories of arcades in the aisle wall, and a 
plain clerestory with round-arched win- 
dows. A square campanile stands over 



200 



LUCEEA 



tlie south transept. The church was 
founded in 764, but rebuilt in part or in 
whole in 811 and 845. In its present as- 
pect it dates presumably from the xii 
century. 

S. Paolixo, a Rejiaissance cruciform 
church, designed, according to Vasari, by 
Bacio di Montelupo, and dating from 1522, 
of imposing design, though not large. Its 
length is about 150 feet, its breadth 63 ft. 
It is divided within by transverse round 
arches into five ol)long bays. A barrel- 
vaulted nave is jirolonged into a square 
choir, intersecting a transept of similar 
design. Two superposed orders of plain 
pilasters on pedestals are carried round 
the whole interior. Eouud arclies open 
from the nave into the aisles, and over 
them are small pedimented windows in 
the intervals of the upper order. Lu- 
nettes between cross ribs intersect the 
nave vault, which sjirings from the ixpjier 
entablature. The square choir is covered 
by barrel vaults, the crossing by a flat 
dome. The exterior is of marble and its 
architecture is in exact accord with the 
interior. Three orders of pilasters on 
pedestals divide the height of the walls ; 
the front has a square doorway in the 
centre flanked by round niches enclosing 
statues ; in the narrowed second story, 
which is flanked by scroll-buttresses, are 
three square windows witli pilasters carry- 
ing entablature and j^ediment. The third 
story apes the first and second, with simu- 
lated nave and aisles. 

Villa Guinigi, an imposing and ele- 
gant country-house now used as a public 
hospital, of Avhich the plan is a rectangle 
aljout 275 ft. long and 50 ft. deep, with 
an open loggia or entrance -hall in the 
middle, the approach to which makes the 
chief feature of the long fagade, consist- 
ing of eight round arches supported on 
square stone piers with leafed capitals. 
On each side of this arcade are seven 
small plain square Avindows set high in 
the wall. The second story is a round- 



arched arcade of twenty arches, each en- 
closing a group of three narrow, pointed 
and cusped arches Avith a window in the 
middle one. 
LUCEEA, Italy. 

The Cathedral, begun in the year 
1300, and consecrated in October, 1302, is 
a cruciform brick Gothic church about 
190 ft. long and 121 ft. broad across the 
transept, with nave and aisles in six bays 
of arches springing from square piers with 
half columns of verd-antique. The nave 
opens into the transept by one great 
triumphal arch springing from a column 
of travertine on each side standing on an- 
other of verd-antique, from which it is 
separated by a strong projecting corbel. 
The transept has three apses on its east 
wall, corresponding to the nave and aisles ; 
the vault of the middle apse is adorned 
with painting. The nave and transept 
are covered by wooden ceilings, the aisles 
by groined vaults. Under the transept is 
a vaulted crypt. The front is simple and 
rude. The three plain pointed doorways 
are covered by flat gables — that to the 
south is in the base of a square tower of 
several stages divided by thin strings ; 
the upper stage octagonal, with a two-light 
pointed and traceried window in each face 

Under the flat 
The side 

divisions have horizontal cornices. The 
central apse of the east end is flanked by 
two turrets. 
LUGNANO, Italy. 

The Church of Sta. Maria Assunta, 
though of small dimensions, is of impor- 
tance as one of the very few churches en- 
tirely from the hand of the Eoman school 
of mediaeval artists usually called the Cos- 
mati. It is cruciform in -plim, with a 
porch, three aisles, a very long transept 
extending two bays beyond the side-aisles, 
a single apse and a crypt. The porch, 
extending across the entire fa9ade, con- 
sists of an architrave supported by col- 
umns, similar in general arrangement to 



and a low octagonal roof 
nave gable is a wheel window. 



201 



LYDDA 



the porches in Rome, and decorated with 
mosaics and sculptures. Tlie fa9ade has 
a rose-window in a square formed of a 
mosaic frieze, on eacli side of wliich is 
a two-liglit round-lieaded window. The 
body of tlae cliurch consists of five bays 
with rather heavy round piers supporting- 
round arches and topped by varying capi- 
tals of rudimentary foliated and geomet- 
ric designs. The nave is covered by a tun- 
nel-vault, the aisles by cross-vaults, which 
were apparently substituted at some time 
for the original covering. The crypt, 
wliich is entered by two flights of steps 
from the aisles, is an elegant and original 
structure by a more masterly hand than 
the rest of the church. Ten delicate 
monolithic columns — there were origi- 
nally fourteen — with large and spreading 
foliated capitals of careful workmanship 
support four architraves (at first six) on 
which the floor of the choir rests. [A. L. 
F., Jk.] 
LYDDA (Lud), Palestine. 

The Chukch of St. George is- an in- 
teresting fragment illustrating the church 
of Sebaste (Samaria) which it greatly re- 
sembles. There remains one bay each of 
a nave and two aisles with their three 
eastern apses, of Byzantine form, or round 
within and octagonal without, the apses 
domed, the bays groin - vaulted. The 
pointed arches, clerestory, clustered piers 
and vaulting all indicate work of the sec- 
ond half of the xii cent. ; the bases and 
capitals and a carved cornice about the 
main apse are of fully developed Roman- 
esque work, such as was mingled with the 
work of the crusaders at that period. 
MADERNO, Lago di Garda, Italy. 

The Church is a small basilica of in- 
teresting plan, built in the xi or xii cent. , 
three-aisled and without transept, vaulted 
throughout. The four bays of the nave 
are nearly square, those of the narrow 
aisles consequently very oblong, divided 
by clustered piers with quasi-Corinthian 
capitals. These carry in the first three 



bays broad pointed arches. In the last, 
which is the choir, the arcade is subdi- 
vided by two small round arches borne by 
a small column, and the bay is covered by 
a hemispherical dome carried on penden- 
tives of singular construction. A later 
square chancel takes the place of the orig- 
inal round aj)se. 

MAGKESIA (ad Maeandrum), Asia 
Minor. 
Temple of Artemis (Diana) Leuko- 
PHRYENE, probably transferred from the 
original site at Leucophrys. It was orig- 
inally Ionic, dipteral, of the v cent. B.C., 
and was rebuilt and made pseudo-dipteral 
330-300 B.C., by Hermogenes. Strabo says 
it yielded in grandeur only to the temples 
of Ajoollo Didymseus at Miletus, and of 
Artemis at Ephesus. It was pillaged and 
burned by the Persians, and restored dur- 
ing the reigns of Nerva, Hadrian, and 
Trajan. It was explored by the French 
commission of 1843. The remains now lie 
in a vast pile of fragments, and show that 
the temj)le stood in a large peribolos or 
enclosure, surrounded by a double Doric 
portico with prophylsea in front. The 
peribolos, the walls of which are still 
nearly 20 ft. high, was adorned with 
many statues, on pedestals placed at regu- 
lar distances in front of the columns of the 
portico. In the middle was the temple, 
which was Ionic, octastyle, pseudo-dip- 
teral, on a stylobate of eight steps (prob- 
ably in front only), with fifteen columns 
in each flank and two between antse in 
pronaos and opisthodomos ; ground plan, 
198 ft. by 106 ft., measured on the high- 
est step. The diameter of the columns 
at the base was 4^ ft., at the neck, 4 ft. ; 
their height (base and capital), 40 ft. 8 in. ; 
height of entablature, 9 ft. 10 in. About 
a third of the beautiful frieze, of Roman 
epoch, sculptured witli reliefs represent- 
ing the war of the Amazons, is now in 
the Louvre. The material is white mar- 
ble from Mt. Pactyas. Recent excava- 
sions by the German Institute at Athens 



802 



MALPAGA 



show that almost all the architectural 
members are still in existence, lying about 
the stereobate, which is also to a large 
extent preserved. Three building periods 
are easily distinguishable in the remains : 
(a) the archaic dipteral temple with Ionic 
columns of Poros stone having thirty-two 
flutes, ascribed to the v cent. B.C. ; (b) tlie 
pseudo-dipteral temple of white marble, 
built by Hermogenes ; (c) a Eoman res- 
toration, to which belong the foliage- 
frieze of the cella-wall, and the stoas and 
wall of the peribolos. 

Theatre, near the middle of the city, 
excavated in the slope of Mt. Thorax. 
There may have been as many as fifty 
tiers of seats, and there are remains of an 
arched entrance on each side. Both the 
earliest and the latest stage-structures in- 
cluded five rooms, and the German Insti- 
tute discovered in 1891 a vaulted under- 
ground passage leading from the middle of 
the orchestra to the interior of the stage 
structure, as in the theatres of Eretria and 
Sicyou. The construction is of the iv 
cent. B.C., completed and altered in Hel- 
lenistic and Eoman times. 
MALPAGA, Italy. 

The Castle, one of the later examples 
of the fortified houses of the great cap- 
tains of the Middle Ages. It is a quad- 
rangular pile of buildings surrounding a 
court-yard, the greater part of the exter- 
nal wall now hidden behind a mass of 
later additions, but showing above these a 
strong line of forked battlements crowning 
the wall, and four angle towers not project- 
ing from it, of whicli one rises into an ad- 
ditional story on bold machicolations. A 
low enclosing wall, also with forked bat- 
tlements, surrounds the castle at a little 
distance, the intervening space, formerly 
free, being now covered by the later build- 
ings above mentioned. One of the an- 
cient drawbri<lges over the moat still ex- 
ists. The walls of the court-yard, carried 
on pointed arches, are adorned by frescoes 
illustrating picturesque incidents in the 



life of Colleoni. The ancient banquet- 
hall and some of the other apartments are 
also decorated with paintings. The castle 
was built late in the xv cent, by Bar- 
tolomeo Colleoni, the famous condottiere, 
whose statue stands before the church of 
SS. Giovanni e Paolo at Venice. 
MALTA. See Valetta. 
MANTINEA, Arcadia, Greece. 

The Agoba was surrounded with por- 
ticoes ; the remains surviving on three 
sides appear to be of Eoman date. It con- 
tained several shrines and temples, and 
was beautified with statues and exedras, 
including the elaborate and highly deco- 
rated exedra of Ejoigone, of semicircular 
plan and coA'^ered with a semi-dome, which 
formed the central feature of a market- 
structure. The remains, though testify- 
ing to Eoman reconstructions, iiudoubted- 
ly preserve the Greek dispositions, and are 
among the very few surviving examples of 
a fully developed Greek agora. 

BouLEUTERiON, or Council-housc, in 
the agora. The foundations, of good Hel- 
lenic masonry, occujjy a rectangle about 
119 ft. by 62 ft., and indicate a building 
with a j^rojecting wing at each end. The 
original back wall, which now divides the 
building in the middle, is pierced at the 
east end by a double door, which leads by 
flights of steps to the portico, originally of 
ten columns, which is of later date than 
the main structure. The columns are 
Ionic, with convex flutiugs, and are simi- 
lar in style to those of the Philippeum at 
Olympia. They probably date from the 
Macedonian epoch. At the west end were 
two chambers divided from the remain- 
der of the structure. 

Double Temple, divided by a parti- 
tion-wall in the middle, one chamber be- 
ing dedicated to Asklepios, and the other 
to Leto (Latona), Apollo, and Artemis 
(Diana). 

Fortifications, about two and a half 
miles in extent, with some one hundred 
and twenty towers, round at the gates and 



203 



MANTUA 



square elsewhere, at intervals of 85 ft. 
Ten gates and numerous posterns are still 
recognizable. The walls, jorobably built 
after 371 B.C., consist of a base, from 4 ft. 
to 6 ft. high, of large stones of trapezoid- 
al form in regular courses, the intervals 
between the large blocks being filled with 
small stones. The uj^i^er part of the wall 
was of unburned bricks. 

Theatre, near the temj^le of Hera. 
Portions of the lower tiers of seats sur- 
vive, displaying eight stairways and seven 
cunei. The auditorium is supported- by 
an artificial mound with a retaining wall 
of polygonal masonry. On either side a 
flight of steps gave access from the ex- 
terior to the diazoma, and two others 
penetrated the theatre from the back. 
The stage -structure shows the usual con- 
structions of Koman date. The diameter 
of the theatre is about 217 ft., that of the 
orchestra 70 ft. 
MANTUA (Mantova), Italy. 

Oastello di Corte, the ancient castle 
of the Gonzagas, the reigning family of 
Mantua during nearly three centuries. It 
stands near the Ducal Palace (Corte Eeale, 
q. v.), of which indeed it should be consid- 
ered a portion, though detached, and on 
the edge of the lake whose waters fill a 
basin in the middle of which the castle is 
placed. It is a simple but imposing mass 
of building with plain walls of brick, 
flanked by strong projecting angle-towers, 
a high battering base, a heavy machico- 
lated cornice, and forked battlements now 
walled up and covered with a roof. The 
original windows have mostly disappeared, 
and new openings have been made to suit 
the later purposes of the building, which 
contains the archives of state. Several of 
the principal rooms Avere adorned with 
frescoes by Andrea Mantegna, now near- 
ly obliterated. The castle is thought to 
have been built about the end of the xiv 
century. 

The Cathedral, dedicated to St. Peter, 
originally consecrated in 982, was rebuilt 



in Gothic style in 1.395. The exterior 
was left unfinished until, in 1761, the front 
was completed in baroco style by Bas- 
cliiera. A portion of the south aisle wall 
still shows the character of the original 
design, consisting of a series of sharp ga- 
bles, one to each bay, separated by but- 
tresses terminating in pinnacles, as in S. 
Petronio at Bologna, the whole being of 
brickwork. The ancient campanile still 
stands, but unfinished. The interior, re- 
built after a fire in 1545, is ascribed to 
Giulio Komano, who, however, died in 
1546. It has double aisles and transept, 
and a dome at the crossing. The main 
piers are faced with Corinthian pilasters 
and carry arches ; the nave is covered 
with a flat wooden ceiling, j^anelled, and 
richly decorated. The idea, says Gurlitt, 
of roofing the high nave flat, the inner 
aisles with coffered barrel-vaults, the out- 
er aisles with coved ceilings, the chapels 
again with barrel-vaults at right angles to 
the nave, is queer enough to have sprung 
up in Giulio's head. 




Fig. 105.— Mantua, S, Andrea. 



204 



MANTUA 



The CoRTE Eeale, or Ducal 
Palace, is an extensive mass of 
buildings of various dates and 
styles, begun in 1303 under Guido 
Buonacolsi, one of the earliest 
lords of Mantua, and continued 
and extended by successive lords 
and dukes up to the middle of 
the XVI century. It really com- 
prises the Oastellodi Corte {q-v-). 
This is extended by later con- 
structions, comprising galleries, 
halls of state, ball-rooms, apart- 
ments for the royal residence, be- 
sides a theatre and a church sep- 
arated by various piazzas and 
gardens covering an immense ex- 
tent of ground, and containing, 
it has been said, not less than 
five hundred rooms. The forms 
of the earlier arcliitecture have 
been for the most part lost, 
through repeated alterations and 
rebuildings. But two fagades 
still remain substantially un- 
changed, which furnish a cliar- 
acteristic and imposing example 
of the civic Cothic of the xta' 
cent, in tlie north of Italy. They are 
coin])osed witli a street story of high 
open pointed arches with voussoirs alter- 
nately black and white, carried on low 
columns with foliated ca]iitals — and an 
up2)ei' story of twin pointed windows en- 
compassed by high pointed bearing-arches 
witli cusped circles beneatli. These Avin- 
dows are executed in red brick except for 
the muUion-shafts ami alternate voussoirs. 
Between the ujiper and lower story is a 
broad surface of ])lain l)rick wall, of which 
the original openings have been filled up 
and replaced by jilain square windows. 
Tlie high unbroken fronts end in small 
brick cornices and tall forked battlements. 
The great apartments were sumptuously 
decorated in the xvi cent., chiefly by Gi- 
ulio Romano and Primatiecio ; the walls 
for the most part have broad pilasters with 




composite capitals and rich cornices, very 
e]al)orately ornamented with arabesques in 
relief, picked out with gold and color ; the 
ceilings generally of wood, vaulted and 
])anelled and painted with figure subjects ; 
the doors richW carved and gilded. The 
palace was for three centuries the home of 
tlie Gonzagas, whose name is closely asso- 
ciated with the rise and fall of this once 
brilliant and powerful city. 

Palazzo della EagiojsE (Town Hall). 
This building, completed about 1250, has 
undergone such changes to fit it for its 
modern uses that little of its original char- 
acter remains. The characteristic entrance 
gateway is substantially unaltered. It is 
a square building of three stories, of which 
the lower is pierced with a single broad 
round archway of brick with occasional 
voussoirs of stone. The passage is not 



au5 



MAEATHOS 



vaulted, but sjaamiecl by four round arches 
of stone, at equal distances. Above the 
arch and two broad round-arched win- 
dows over it, now walled up, is a graceful 
open gallery of eight narrow round-headed 
arches, divided by slender marble columns 
couj^led in the depth of the wall. A sim- 
ple projecting band of brickwork carried 
on small corbels terminates the front. A 
tall campanile attached to the palace dates 
from 1478. 

Palazzo del Te, a famous country- 
house outside the walls of the city, built 
and decorated by Giulio Eomano (his most 
famous work) in or about 1527 for the 
duke of Gonzaga. The buildings are of 
a single story, surrounding an interior 
court about 120 ft. square, the exterior 
measurement being about 180 ft. on each 
side. The garden fa9ade has a projecting 
centre with three round arches on coupled 
Doric columns with entablature and pedi- 
ment, forming the entrance to the court. 
The side divisions consist of open corri- 
dors with thin columns and pilasters on 
pedestals, with occasional arches — all sur- 
mounted by a high attic. The court is 
designed with a single order of engaged 
Doric columns with decorated frieze, the 
intervals alternately broad and narrow, 
filled with rustic walling and with alter- 
nate windows and niches. The rooms 
in the palace are decorated by Giulio with 
great richness, but with characteristic 
heaviness and capriciousness of detail. 

S. Akdrea (St. Andrew), the largest 
and most important church in Mantua. 
It is the master-work of Alberti, and fore- 
runner of the great church designs of 
Bramante and Michael Angelo ; a cruci- 
form early Eenaissance building 340 ft. 
long and about 100 ft. wide, with a fa9ade 
of white marble in the form of a Eoman 
triumphal arch composed of an order of 
four composite flat pilasters, on enormously 
high pedestals, and an attenuated entabla- 
ture, all under a low pediment. The middle 
intercolumniation is expanded to receive 



the immense deep open arch occupying 
the whole height of the pilasters ; the side 
intervals being narrow and occupied each 
by a doorway and two large plain round- 
headed windows one above another. The 
interior presents a nave 55 ft. broad, in 
three bays, with an imposing order of rich 
Corinthian pilasters, coupled and decorat- 
ed with painted arabesques, between which 
open a row of singularly arranged chapels, 
alternately large and small, corresponding 
to the larger and smaller intervals of the 
pilasters. The transept is as broad as the 
nave and has large chapels on the east and 
west sides. The choir is in a single square 
bay, with a round apse. Nave, transept, 
and choir are covered with a round barrel- 
vault, 98 ft. high, deeply panelled and 
richly painted, and a hemispherical dome 
rises from the crossing. The church was 
built by Leon Battista Alberti in 1472, 
but the dome was not added till 1782. 
The building shows the marked character- 
istics of Alberti's design, the lean orders 
and rigid detail ; but the disposition of the 
rinterior architecture, the single great Co- 
iuthian order, the vaulted nave, the great 
piers and pendentives prepared for the dome 
which was intended by Alberti, though act- 
ually designed and built by Juvara, were 
long steps in the development of the Eenais- 
sance, and clearly models for the designers 
of St. Peter's at Eome. Attached to the 
church at the northern angle is a Gothic 
bell-tower, remnant of an earlier church. 
It is a square brick tower in four stages, 
with flat corner-pilasters and three stories 
of pointed windows, the upper story having 
in each face a large three-light traceried 
window with mullion-shafts of polished 
marble coupled in the thickness of the 
wall, under a high pointed enclosing arch. 
Above a deep and rich cornice rises an 
octagonal belfry with angle-columns and 
round arches enclosing pointed windows. 
A round brick spire covered with tiles ter- 
minates the whole. (See Figs. 105, 106.) 
MAEATHOS See AmrWi. 



206 



MAR 



MAE HANISTA, near Gaza, Palestine. 

RocK-CuTTiXGS, at the base of the 
acroj)olis hill, consisting of a labyrinth of 
chambers witli arched or bell-shaped ceil- 
ings, galleries, and stairways, recalling the 
catacombs of Rome, and admirably cut 
in the soft gray chalk. The chambers are 
from 20 ft. to 25 ft. in diameter, and 30 



MATERA, Italy. 

The Cathedral is a Romanesque 
building of the xi cent., rebuilt at the 
end of the xii, and restored in later years, 
showing in its picturesque details both 
Norman and Saracenic influence. It is 
cruciform, with nave and single aisles and 
transept not projecting. Over the crossing 










ft. to 40 ft. high, liglited by shafts open- 
ing at the apex of the ceiling, wliich is 
often supported by detaclied pillars. At 
the foot of tlie hill, in front of the rock- 
chambers, are extensive foundations in 
hewn stone. Many of the hills in the 
neighborhood are lioneycombed with sim- 
ilar cuttings, and there are also large ne- 
cropolises of rock-cut tombs, and cisterns 
of excellent workmanship. Originally 
due, no doubt, to the primitive inliabi- 
tants, these rock-cuttings liave continued in 
use ; some are shown by inscriptions to have 
served as churches or mosques, and many 
are still used as stables for goats or cattle. 



r.i, Cathedra 



is a low, square tower, and the choir is 
flanked on the north by a square campa- 
nile with twin windows under round arches 
in the upper stories. The church, 175 ft. 
long, in eight bays, of which all but the 
two easternmost retain their original 
round-arched form, is divided by twelve 
classic columns, believed to have been 
brought from Metapontum. The west 
front, of unusual design, has a Availed ter- 
race before it with semicircular central 
steps. The single round-arched door in 
the middle has a sculptured tympanum, 
and is flanked by niches. Over the nave 
is a raised gable decorated with a corbelled 



207 



MAXIMIANOPOLIS 



and shafted arcade that follows its slope. 
BeloAV this is a rich rose window, between 
two quasi buttresses, which consist of 
iwo stories of boldly corbelled columns. 
A flat blind arcade, resting on alternate 
corbels and pilasters, follows the slope of 
the aisle-cornices, and is continued round 
the south side of the church. This side 
has two doorways, and, high up in the 
aisle, a window, richly decorated with cor- 
bels and shafting, from which the edicts 
of the patriarch of Constantinople were 
formerly promulgated. The clerestory 
had a single round-arched window in each 
bay, now disfigured by modern square- 
headed openings. {8ee Fig. 107.) 
MAXIMIANOPOLIS. See Eanaivat. 
MEGALOPOLIS, Arcadia, Greece. 

The Agora was enclosed with porticoes 
in the Ionian fashion, and must, with the 
monuments connected with it, have formed 
a very beautiful feature. The stoa on 
the north side, that of Philip, has been in 
part excavated by the British School. Ad- 
joining it on the north was that of the Ar- 
chives, containing some of the government 
offices, and the temples of Hermes and of 
Tyche. On the south stood tlie stoa of 
Aristander, flanked by the temples of De- 
meter and Persephone and of Zeus Soter. 
Close to this was the Bouleuterion or Sen- 
ate-house. Another portico, called Myrop- 
olis (of the perfume-sellers), was built about 
300 B.C. from spoils won by Aristodemus 
from the Spartans. The middle of the 
agora was occupied by the Sanctuary of 
Zeus (Jupiter) of Mt. Sykaion, on the 
ground of which the public was not al- 
lowed to set foot, though the low enclos- 
ing-wall permitted an unimpeded view of 
the various altars, statues, and other dis- 
positions within. Excavations have been 
in progress at Megalopolis under the con- 
duct of the British School at Athens. 

Theatbb, on the south bank of the 
Helisson. The cavea is in part excavated 
from the slope of a low hill, and in part 
built up. The extremities of the wings 



are supported by massive walls. The di- 
ameter is about 475 ft., and Pausanias 
calls it the largest theatre known to him. 
It is estimated that it could seat about 
forty thousand persons. The lowest rows 
of ordinary seats of the cavea, and at the 
bottom a row of thrones or benches with 
backs and arms at the ends, as at Epi- 
daurus, remain perfect. There were ten 
klimakes or radial stairways. The usual 
drain skirts the orchestra, below the seats. 
The orchestra is in plan a little over a 
semicircle, and had a floor of beaten earth. 
The most important portion of the re- 
mains is the stage-structure, the walls of 
which are in unusually good preservation. 
First toward the orchestra is the Eoman 
stage, with a proscenium ornamented with 
columns. Next behind this there is a 
proscenium - wall of excellent masonry 
which has along its whole length a range 
of steps leading down to the level of the 
orchestra. The original height of this joro- 
scenium is given as 5 ft. 10 in ; the breadth 
of the stage as 18 ft. 2 in. Behind the 
stage rose a back-Avall, with a large cen- 
tral door flanked by tAvo smaller ones. 
Behind this wall was a very large rectan- 
gular hall, the roof of which appears to 
have been suj)ported by five ranges of 
seven columns, though its plan is not yet 
fully known, and has evidently been modi- 
fied in Roman times. 
MELASSA (anc. Mylassa), Asia Minor. 

Arch or gateway east of the city. It 
is 28 ft. wide and 30 ft. high, faced by an 
order of Corinthian pilasters, and pierced 
by a single arch 24 ft. high and 13^ ft. 
wide, whose imposts are supported by 
smaller Corinthian pilasters. Apparently, 
it carried an attic. The details of the 
order are like those of the mausoleum. 

Mausoleuji, on a hill south of the city. 
Texier believed it to belong to the ii cent., 
and to be a simplified copy of the tomb of 
Mausolus. It is of two stories, in plan 18| 
ft. square, in height about 29 ft., the 
lower story is a basement 11| ft. high on 



208 



MESSA 



a stylobate of two steps, in which is the 
sepulchral chamber, with a ceiling of 
stone beams supported on four pillars. 
The second story is an edicule, with a per- 
istyle consisting on each side of two Corin- 
thian columns with elliptical shafts, be- 
tween square Corinthian angle-piers. The 
peristyle supports an entablature, above 
which is a sort of stepped pyramid. The 
sides of the peristyle were once closed by 
marble panels ; the interior was painted 
blue. The interior of the roof is remark- 
able for its beautiful ornamental work. 
Columns and piers are fluted, and the 
capitals are of the bell-form of those of 
the Tower of the Winds and the Dionysiac 
Theatre precinct at Athens. 

Votive CoLU.M^^ of Mexaxdhos, Co- 
rinthian, with a rich acantlius-capital of 
importance in the study of the order. It 
has a table for the inscription interrupting 
the fluting, and bore a statue. Two Ionic 
votive columns remain of importance in 
the series of monuments for the study of 
the Ionic order. 

At Kodja Yaileh, near Melassa, is an 
Ionic temple in (infix upon a raised 
basement or podium ; the total depth is 
70^ ft., tlie interior dimensions of thecclla 
to the extremity of the wide rectangular 
niche for the cult-statue in the back wall, 
34 ft. by 43 ft. Jietwcen the antiB of the 
pronaos were two columns. There is a 
windoAV on eacli side of the wide doorway 
between pronaos and cella, and four win- 
dows in each side wall — three in the cella 
and one in the pronaos. The windows 
taper toward the top and are closed in by 
lintels. The masonry is good isodomic, 
with convex faces in tlie basement. This 
temple was taken by Le Bas to be that of 
Labra-nda {q. v.). See also Yalildi. 
MESSA (Taxiarches), Lesbos, Aegean Sea. 

Greek loKic TEiii'Lic of the tirst half 
of the IV cent. B.C.. in plan peripteral 
(pseudo-dipteral), Avith eight columns on 
the fronts and fourteen on the flanks, on 
a stylobate of three steps. It had deep 



pronaos and opisthodomos, each with two 
columns in antis. The shafts of these 
columns had twenty-four Doric channels, 
with Ionic bases and capitals. The di- 
mensions, measured on the lowest step, 
were 78 ft. by 136 ft. The columns had 
twenty-four flutes, and a diameter above 
the base of 3:^ ft. The bases were of 
Asiatic type, but remarkably pure in de- 
sign, without plinths, and the beautiful 
capitals approached the type of those 
of the Athenian Propyla^a. The stereo- 
bate and all the architectural elements 
survive. The material is trachyte, the exe- 
cution and design excellent. 
MESSEIs^E, Greece. 

Arcadian" Gate, on the north side, to- 
ward Megalopolis. Leake calls it one of 
the finest specimens of Greek military ar- 
chitecture in existence. It is double, with 
an intermediate circular court G4 ft. 6 in. 
in diameter, in the wall of which, on each 
side of tlie outer gate, is a niche for a 
statue. This outer gate, 17 ft. 4 in. by 10 
ft. 4 in. high, originally vaulted, is flanked 
by two towers, each about 21 ft. 3 in. 
square. The inner gate had a central 
pier of a single stone, now broken in two. 
The masonry, especially that of the circu- 
lar court, is very regular and beautiful. 
The walls, of which this gate forms a part, 
had at least thirty towers of two stories 
each, most of them square, but some semi- 
circular, placed at intervals. Of these, 
seven are still in fair preservation. 
MESSINA, Sicily. 

The Cathedkal is a great three-aisled 
basilica nearly 300 ft. long and 140 ft. 
across the transept, with three eastern 
apses. The long nave is of fourteen bays, 
with broad pointed arches, somewhat horse- 
shoed in shape, resting on columns with 
low stilt -blocks and capitals, some Ko- 
manesque and some Gothic. The shafts 
are believed to come from a neighboring 
temple of Neptune. The nave is covered 
with a handsome wooden ceiling, a repeti- 
tion of the original one, the crossing with 



309 



METAPONTUM 



a modern dome. The three apses, appar- 
ently older than the nave and the clere- 
story, have round-arched windows, those 
of the transept, which is higher and 
broader than the nave, are pointed ; the 
apses are lined with mosaics of the xiii 
century. The two first bays of the nave 
are cut off by cross arches to form an en- 
trance porch. Under the east end is a 
long crypt of three aisles, with pointed 
vaults on low columns and Norman capi- 
tals. The aisles are lined with chapels, 
and both within and without the church 
is considerably deformed by later addi- 
tions. Of the exterior the most interest- 
ing part is the front, which is banded in 
white and red marble. The three door- 
ways, inserted in the xiv cent., are of un- 
common richness, especially the middle 
one, which is covered with a profusion of 
mouldings, shafting, arabesques, and fig- 
ures, human and animal, and surmount- 
ed by a high crocketed canojiy. Accord- 
ing to tradition an early church Avas 
built in this place in the time of Belisa- 
rius ; but the present one was built under 
Count Roger at the end of the xi cent., 
remodelled near 1125 and consecrated as 
cathedral, according to an inscription, 
in 1197. In 1254 the ceiling took fire from 
the torches on the funeral catafalque of 
Conrad, the son of the emperor Frederic 
II., and the interior was much damaged, 
after which the present ceiling Avas added. 
In 1330 the mosaic decoration of the apses 
was added, and the doorways of the fa- 
9ade. The old bell-tower, destroyed by 
an earthquake in 1783, was replaced by 
another which was taken doAvn in 1865, 
two towers adjoining the apses being sub- 
stituted. 
METAPONTUM (Torremare), Italy. 

Doric Temple of Apollo Lyceus, on 
the site of the farm called the Masseria di 
Sansone or Chiesa di Sansone, the build- 
ings of which are in great part bu.ilt of 
its stones, including drums of columns, 
architrave-blocks, and capitals of the peri- 



style and of two orders of the interior of 
the temple. The first excavations Avere 
made here by the Due de Luynes in 1828, 
and a beautiful polychrome terra-cotta 
cornice Avas found, Avith waterspouts in 
the form of lion - heads. This is noAV 
in the Cabinet des Medailles at Paris. 
More complete excavations liaA^e laid bare 
the stereobate of the temple, Avhich still 
exhibits the marks of the column bases 
and of the cella-walls. The material is 
a coarse limestone, Avhich was, as usual, 
coated Avith fine stucco. These excava- 
tions have also furnished many more 
pieces of the polychrome terra-cotta, to- 
gether Avith antefixes, tiles, fragments of 
sculptured metopes, etc. ; in a Avord, all 
that is needed for a complete restoration. 
The date of the temple is the beginning 
of the VI cent. B.C., or even earlier, 
though much of its ornament in terra- 
cotta, Avhicli has been found, is of com- 
paratively late date. It was hexastyle, 
peripteral, Avith twelve columns on the 
flanks. The columns have tAventy chan- 
nels ; the capitals are Avide-spreading, and 
present a deep undercutting at the junc- 
tion of echinus and neck. The chief di- 
mensions are : stereobate, 70^ ft. by 136 
ft. ; stylobate, highest step, 65^ ft. by 128 
ft. ; columns, height 18 ft. 4 in., base 
diameter 4 ft. 5| in., neck diameter, 3 ft. 
5 in. 

Doric Temple, knoAvn as the Tavola 
dei Paladini, about three miles from that 
of the Masseria di Sansone. Within the 
last century everything portable has been 
removed from this temple, down to its 
pavement and the steps of the stylobate, 
and including every vestige of the cella. 
Fifteen columns of the peristyle remain 
standing ; ten on the north side and five 
on the south, with portions of their archi- 
traves, Avhich were formed like that of the 
so-called Temple of Ceres at Psestum, 
of tAVO courses. The columns are a lit- 
tle smaller than those of the Temple 
of Ceres, but resemble them closely in 



210 



MILAN 



type, diminishing much toward the top, 
and having a spreading echinus with deep 
undercutting. Tlieir lieight is five diam- 
eters, and tlie intercohimniation wide. 
The material was the rougli native lime- 
stone, coated with fine stucco, tinted yel- 
low on tlie columns. Some remains have 
been found of cornice decoration in terra- 
cotta. The temple was hexastyle, with 
twelve columns on the flanks. It aates 
from the first half of the vi cent. B.C., or 
earlier. From the subjects of some votive 
mosaics bflonging to it, it may have been 
dedicated to Demeter ; most scholars, how- 
ever, ascribe it to Pallas. The interior of 
the cella was 20i ft. wide, and consisted 
of two chambers, that in front 37 ft. long, 
and that behind 12f ft. 
MILAN (Milano, Mailand), Italy. 

Arch of Peace, or Arcli of the Sim- 
plon, begun in 1807, during the French 
occupation of Milan, as a triumphal arch to 
celebrate the victories of Napoleon and as a 
monumental entrance to the great route of 
the Simplon, then just completed. The 
arch was a reproduction of a temporary one 
built of wood in the previous year to cele- 
brate tlie marriage of Eugene Beauhar- 
nais witli the Princess Amelia of Bavaria. 
It was finished thirty years later by the 
Austrians witli inscriptions and bas-reliefs 
commemorating tlie downfall of Napoleon. 
The arcli is entirely of white marble, in 
three divisions, with an enriched order of 
detached Corinthian columns on pedes- 
tals enclosing a great arch in the centre 
and small ones on either side, with a 
high attic bearing an inscription in 
the centre, and reclining figures at the 
sides. It is crowned by the statue of 
Peace in a chariot M-itli six horses, 
flanked by single equestrian figures, and 
is about 75 ft. wide by 42 ft. deep and 
80 ft. high. 

The Archbishop's Seminary was 
founded by St. Charles Borromoo about 
1570, and was built from the designs of 
the Milanese architect and painter, Giu- 



seppe Meda. Its plan is a square of about 
250 ft., formed by four ranges of building 
enclosing a noble court about 150 ft. 
square, surrounded by two stories of 
broad open galleries, each with an order 
of coupled columns of red granite — Doric 
and Ionic respectively — the lower of which 
is divided by transverse arches into square 
groined bays. In striking contrast to the 
temperance and dignity of the general de- 
sign is the great entrance gateway, possi- 
bly of later date. 

The Brera is the familiar name for the 
Palace of Arts and Sciences, which is the 
seat of the great collections and art- 
schools of Milan. The original buildings 
were erected in the xii cent, for the use 
of the religious order of the Umiliati, 
from whose hands they passed in 1571 
into those of the Jesuits, by whom the 
present palace was built in 1651-67 from 
the designs of Eicchini, the taqa.de by 
Piermarini. On the suppression of the 
Jesuits in 1773 the establishment became 
the property of the state, and in 1803 it 
was devoted to its present uses. The 
buildings are of vast extent, covering an 
irregular square of about 370 ft. The 
principal fagade, about 210 ft. long, is 
without character, consisting of two sto- 
ries of square windows, and quoined an- 
gles, with a mezzanine between, the upper 
windows with pedimented caps, and the 
central arclicd entrance in an engaged 
Doric portico, the whole ending in a pro- 
jecting cornice on consoles. The court, 
the best part of the building, measures 
about 90 ft. by 120 ft., and is surrounded 
by two stories of open arches on coui^led 
columns carrying blocks of entablature, 
Tuscan below and Ionic above. The pal- 
ace has a grand double staircase, and many 
halls of no special architectural interest. 
It enclosed a small church, the sole rem- 
nant of the earlier buildings, which had a 
Gothic fagade with a deeply splayed round- 
arched doorway, two stories of two-light 
cusped windows, some pointed-arched. 



211 



MILAN 



others round, and a single high gable cov- 
ering the front. 

The Cathedral is, with the jDossible 
exception of the cathedral of Seville, the 
largest medieval church in Europe. It is 
also one of the richest in point of material 
and decoration. It is cruciform, perfectly 
regular in plan, with a nave of great 
breadth and double aisles, a transejit of 
equal breadth with the nave, with single 
aisles, and a choir ending in an octagon 
with a single aisle continued around its 
east end (an arrangement very rare in 
Italian churches), and flanked by two 
rectangular sacristies which fill out the 
east end of the church to the breadth of 
the west end. The nave and its aisles are 
of nine bays, square iu the aisles, oblong 
in the nave. The outer and inner aisles 
are of equal width, and are separated from 
each other and from the nave, transept, 
and choir by massive piers, nearly or quite 
8 ft. in diameter, of which the plan is 
an octagonal star, and the bases somewhat 
clumsily moulded. The capitals, which 
are among the most remarkable features of 
the church, consist of a true capital, which 
is a low wreath of conventional foliage, 
with a heavy abacus, on which stands a 
circling range of eight tall canopied niches, 
each enclosing a statue, over which rise 
high crocheted gables, the whole height 
of the compound capital being not far 
from 20 ft. The piers are joined by high, 
narrow, pointed arches with weak mould- 
ings, above which rises a low clerestory 
with a single pointed window in each 
bay. The clerestory is repeated over the 
inner aisles. The walls of the outer aisles 
are of unusual height and lighted by a 
tall three-light pointed Avindow in each 
bay, with traceried head, and filled with 
stained glass. High-pitched four-part 
vaults cover the whole church and are 
stayed by iron rods, the only exception 
being the square bay at the crossing, which 
is covered by a slightly elongated octago- 
nal dome, whose interior height above the 



floor is about 200 ft. The transept has 
square ends, except that from its central 
aisle, both on the north and the south, 
projects an octagonal chapel, vaulted at the 
height of the nave arches, above which the 
square wall of the transept is pierced by a 
great pointed window divided into nine 
lights, with traceried head, and filled Avith 
fine glass. The three sides of the octago- 
nal termination are filled each with an im- 
mense window 28 ft. broad and nearly 60 
ft. high, with traceried head, and glazed 
with extremely rich modern glass. The 
floor of the choir rises by successive ascents 
to the high altar near its eastern end, 
which stands under a circular baldacchino 
with Corinthian columns and entablature 
crowned by a dome, the whole decorated 
with extreme richness. The choir is en- 
closed by a high Eenaissance screen wall, 
decorated with pilasters and caryatides and 
divided into panels charged with bas-re- 
liefs. The inside is lined with elaborately 
carved stalls of walnut, below which the 
screen is pierced by square windows open- 
ing into the crypt underneath. Beneath 
the choir is a vaulted crypt of Eenaissance 
design, opening on the east into a circu- 
lar chapel 46 ft. in diameter, lighted by 
openings from the choir aisle, and deco- 
rated with great richness, the vaulted 
ceiling supported by Tuscan columns. On 
the west of the crypt is the equally rich 
chapel of S. Carlo Borromeo, with his 
tomb in the centre, above which is an 
opening in the floor of the nave which 
permits the interior of the chapel to be 
seen. On the two easternmost piers of 
the four which support the central dome 
are two circular puljjits of bronze, sup- 
ported by terminal figures, covered with 
canopies encircling the piers, and enriched 
with bas-reliefs. The pavement is rich 
and beautiful, composed of colored marbles 
in elaborate geometrical patterns. The 
surfaces of the vaulting are painted in 
imitation of tracery. No church plan in 
Italy has so much the character of the 



212 



MILAN 



northern Gothic as this. Yet the breadth 
and freedom of its treatment and the splen- 
dor of its materials and decoration are 
wholly Italian. So also is its section, which, 
with its low clerestories and the slight 
diminution in the heights of nave and 
aisles, offers a tyj^ical contrast to that of a 
northern cathedral. The effort to avoid 
the crowding piers and complicated plan 
of a northern Gothic east end has ex- 
panded the parts about the choir to a de- 
gree that not only makes this end look 
bald and j)rimitive in design, in spite of 
the rich windows, but puts it out of scale, 
both witliout and within, with the rest of 
the church. The dimensions are very im- 
posing. The nave is 60 ft. wide between 
the centres of its piers, the aisles nearly 
30 ft. ; the total interior breadth is thus 
about 180 ft., while the total longtli is 
about 450 ft. ; and the length of the tran- 
sept 240 ft. The crown of tlie nave vault 
is 145 ft. above the pavement, which is 
almost exactly the height of the nave of 
Cologne aiul the choir of Beauvais. The 
inner aisles luive a height of aliout 90 ft., 
the outer about 70 ft. Tlie interior has 
thus a combined height aiid amplitude 
which make it one of the most impressive 
in the worldy,. The resemblance to a 
northern cathedral, wliich the interior 
shows, is not to be traced on the exterior. 
The clerestories are so low as to be scarcely 
visil)le above the high roofs of the aisles, 
and the continuous slope of the flying but- 
tresses over botli aisles, with the similar 
slope of the screen-like facade of tlie west 
front, gives a sprawling effect to the mass, 
as far removed as possible from the outline 
of a northern Gothic church. The high 
side walls are divided by shallow straight 
buttresses terminating in pinnacles of 
enormous height. These pinnacles are 
repeated on each clerestory, and continu- 
ous flying buttresses connect them with 
an arch over each aisle. The central lan- 
tern or dome over tlie crossing, an octagon 
about 55 ft. long and 45 ft. broad, rises 



vertically some 50 ft. from the roof of the 
nave, surrounded by eight buttresses ter- 
minating in pinnacles, from which flying 
buttresses with concave ramps spring to 
the base of a slemler flecJie that forms the 
termination of the lantern, rising to the 
height of about 340 ft. above the pave- 
ment, and crowned by the statue of the 
Madonna. Double and single buttresses 
divide the fa9ade, which is more modern, 
into five vertical compartments corre- 
sponding to the nave and aisles. From 
these compartments panelled gables and 
half-gables are cut off by horizontal cor- 
nices and balconies between the buttresses 
at the height of the corresjoonding roofs, 
but all finish in a parajset which makes a 
continuous slope as of a single gable from 
the apex to the angles of the front. In 
tlie upper part are three broad pointed 
windows ; below are Renaissance windows 
and doors in two stories, all enclosed be- 
tween pilasters and pediments. Through- 
out the whole work the decoration is 
carried to an extraordinary extent. The 
walls are everywhere of white marble, and 
except on tlie west front, walls as well as 
buttresses are divided into vertical panels 
with traceried heads by wiry ribs which 
merge in a lace-like parapet, following the 
eaves over each clerestory. The buttresses 
have cusped, gabled, and pinnacled niches 
at mid-height, the pinnacles are as lofty 
as spires and of unparalleled richness of or- 
nament, capped with statues, and enclos- 
ing often in their niches a dozen or more 
of smaller figures. The upper line of the 
flying buttresses is marked by a pierced 
parapet of quatrefoils, above which is a 
fringe of inverted cusped arches with a 
close row of sculptured finials. The num- 
ber of statues on the exterior has been 
variously reckoned at from two to four 
thousand. With all its richness of mate- 
rial and all its profusion of ornament, the 
exterior of this great church fails to pro- 
duce the effect of greatness which is felt 
in many churches of far less importance. 



213 



MILAN 



Its richness is frittered, its majestic pro- 
portions are concealed, and it fails to real- 
ize the characteristic excellencies either of 



the profusion of pinnacles, gablets, and 
flying buttresses. The earliest cliurch on 
this site g'oes back to 390 ; it was rebuilt 




-Milan, Cathedral, and Tower of S. Gottardo. 



the northern or the southern type of the 
Grothic cathedral. Italian resistance to 
northern ideas is shown throughout the 
church in the effort to avoid sharply 
pointed arclies and dominating vertical 
lines, to preserve wall-surface and to en- 
force horizontal lines ; the northern influ- 
ence in the net-woi"k of upright panelling, 
the struggle of the vertical principle for 
recognition, the character of the tracery, 



in 836, and again destroyed and rebuilt, 
until, in 1385, the foundation of the present 
church was begun, under Gian Galeazzo 
Visconti, Duke of Milan. Much contro- 
versy has been maintained as to its archi- 
tect. The northern influence was too evi- 
dent to be denied, and, in view of this, out 
of the crowd of men recorded as in charge 
of the work, the plan at least has been 
commonly assigned to Heinrich von 



214 



MILAN^ 



Gmunden. One Simone d'Orsenigo was, 
however, named as director labonim, also 
a Frenchman named Nicholas de Bonne- 
aventure, and Marco da Campione, who 
died in 1390, and all of these appear to 
have had an earlier connection with the 
work than the German architect. As 
early as 1397 the nave was partly roofed, 
and in 1418 the choir was consecrated by 
Martin V. As the work went on, fears 
were entertained that the cen- 
tral piers were too weak to sup- 
port the dome. Brnnelleschi 
was consulted in 1430, but the 
work on the dome was not l)egun 
till near the end of the century. 
In 1567 Pellegrino Pellegrini 
was called from Brescia as archi- 
tect of the fajade, which was 
begun in tlie Eenaissance style. 
The work made slow progress, 
and in 1638, during a visit of 
the King of Spain, one Buzi, 
who accompanied him, protest- 
ed agaiiist the change of style 
and submitted two Gothic de- 
signs, one of wliicli was ac- 
cepted, and Buzi remained in 
charge of the Avork till his deatli 
in 1658. The Renaissance doors 
and windows of Pellegrini were, 
however, suffered to rcnuiin. 
The faQade was unfinished at 
Buzi's death, and several de- 
signs then made for its com- 
pletion are preserved, among 
them one with two great 
square angle-towers projecting 
both from the front and sides 
finally completed by order of Napoleon in 
1806-13, from the designs of Amati. This 
fagade has always been a reproach to the 
cathedral, and lately a competition has 
been held among various architects for 
a design for a new front. The first prize 
was given to Brentano of Milan, who, 
however, died in 1891. {See Figs. 108, 
109.) 



OsPEDALE Maggiorb, or Grande (the 
Great Hospital), one of the most remark- 
able buildings of Milan, was founded in 
1456 by Duke Francesco Sforza and his 
wife, at a time when the Gothic style was 
passing out of use, but some of its spirit 
was preserved in the design by Filarete. 
The |)roject was on an imposing scale, 
comprising a great central court 240 ft. 
by 225 ft., witli wings on either side cov- 




It was 



Fig. 109. — Milan, Cathedral, Interior. 

ering each a space about 340 ft. square, 
and composed of rectangular masses of 
building, enclosing four courts about 90 
ft. square each. Of this vast design only 
the north Aving was carried out under the 
Sforzas ; but toAvard the end of the xv 
cent. Bramante added an arcade which 
formed one side of the great central court, 
and the remainder of the court was built 
in 1621 by Ricchini, substantially in ae- 



gis 



MILAN 



cordance with Bramante's design. It is 
surrounded by two stories of arcades on 
columns Ionic below, Composite above, 
originally entirely oj)en, but later blocked 
on two sides in tlie iipper story with square 
windows. Over each of the two stories 
runs an entablature, richly decorated, as 
are the spandrels and soffits ; the ujiper 
cornice projecting boldly on corbels. The 
remaining jjortions of the original plan 
were successively completed under various 
architects. The street front measures 
some 900 ft., of which the central jwr- 
tion in front of the great court, about 250 
ft. long, is built in accordance with the 
original design of Filarete. The lower 
story, standing on a high basement, con- 
sists of a wall-arcade of round arches on 




Fig. 110,— Milan; Ospedale Grande, Court-yard. 

stout three-quarter columns, and enclos- 
ing pointed windows each with two sub- 
arches and a dividing column, encom- 
passed by a broad border of rich sculj)ture. 
All the spandrels ai"e filled with roundels 
enclosing busts in high relief. A high 
frieze charged with reliefs separates the 
two stories, of which the upper has a 



jilain wall with windows like those below, 
set in square panels. The profuse deco- 
ration of this f agade, like that of the great 
court, is all executed in terra-cotta, and is 
one of the most notable exami^les of the 
j)erfection which the Italians attained in 
the use of this material. In the centre of 
the front is interpolated an entrance like 
a triumphal arch with two engaged Co- 
rinthian orders, awkwardly finishing with 
three kinds of pediments one inside the 
other. A plain attic story has been added 
to the fa9ade in recent times, quite out of 
keeping with the older architecture. [See 
Fig. 110.) 

Palazzo Marino, a sumjjtuous palace 
of great extent, built from the designs of 
Galeazzo Alessi about 1560, by Tommaso 
Marino, a wealthy banker of 
Genoa, in the service of the 
Spanish Government, by which 
it was confiscated, and from 
which it passed into the hands 
successively of the Empress Ma- 
ria Theresa and of the munici- 
pality of Milan. The palace 
covers an area about 275 ft. 
square, with fa9ades on four 
streets. Of these the principal 
is in three high stages, each or- 
namented with an order of pi- 
lasters, those of the first and 
second stories Doric and Ionic 
respectively, that of the third 
story Avith hermes or terminal 
pilasters and a richly decorated 
cornice. The great interior 
court is surrounded by two 
stories of arcades decorated 
with extravagant richness, and 
the great hall which opens from it is per- 
haps even more overloaded with ornament, 
though it is still incomplete. 

Palazzo (Loggia) degli Osii. A fa- 
9ade with a two-storied loggia — remnant 
of the xiii cent. Palazzo Pubblico. Be- 
low are five broad round arches on piers 
renewed in 1650. Above, slender grouped 



21B 



MILAN 



columns carry jwiuted arches, formerly 
open, now filled with modern windows, and 
standing on a panelled belt decorated with 
armorial shields. The third story was a 
gallery in five groups of three round arches, 
the end groujos now built up, the 
others occupied by statues, of the 
XV century. Next it are the 
former Scuole Palatine, with a 
graceful arcade of coupled col- 
umns and second story of en- 
riched Avindows, crowned by a 
bare modern attic. ( See Fig. 111. ) 

The Palazzo Reale (Roj-al 
Palace) stands on the site of the 
old mediaeval palace built by Azzo 
Visconti in 1330, of which noth- 
ing remains but the choir and 
tower of the chapel, now known 
as S. Gottardo {q. v.). The old 
buildings were removed partly 
by Gian Galeazzo Visconti, to 
make room for the cathedral ; 
near 1.580 what remained was substan- 
tially rebuilt in the style of the Renais- 
sance by Ambrogio Piscina, and in 1771 
a final restoration under Piermarini 
brought it to its present condition. The 
palace is of irregular plan, covering an 
immense extent of ground, with its prin- 
cipal front facing the south flank of the 
cathedral. It is about 230 ft. long, in 
three stories, the first a basement of rustic 
masonry, with arched entrance in the 
middle, the two upper stories embraced in 
an order of flat Ionic pilasters, with a 
prominent cornice, the centre slightly 
broken forward, with engaged columns and 
a high panelled attic. The interior con- 
tains many state apartments sumptuously 
adorned, but of no architectural interest. 

S. Ambuogio (St. Ambrose), is perhaps 
the most interesting of Lombard churches 
in Italy, historically and architecturally. 
It may be called a typical Romanesque 
basilica, with atrium or fore-court, nar- 
thex, nave, aisles, and tribune, great cen- 
tral lantern, but without transept, and 



flanking western towers. Its total length 
is about 390 ft., its breadth (which is uni- 
form throughout, the lines of the aisle- 
walls continuing those of the atrium) 
something less than 90 ft. The atrium is 




Fig. Ill 



and Scuole Palatine 



a grand open court about 4G ft. wide and 
118 ft. long, enclosed by groin-vaulted 
arcades of round arches, carried on grouped 
shafts with low capitals of extremel}' A'a- 
ried designv strongly Byzantine in char- 
acter, from which slender engaged shafts 
with base and capital rise through the 
spandrels to an arched corbel-table and a 
simply moulded cornice. The atrium is 
faced by the great fa9ade of the church, 
covei'ed by a single unbroken gable of low 
pitch, under which are the two open 
arcades of tlie narthex. The lower arcade 
is essentially a continuation of those of 
the atrium. Over it is a A'aulted gallery 
with five arches corresponding to those 
l)elow, but graduated in height to follow 
the rake of the gable. Each of tliese di- 
visions is occupied by a single round arch ; 
the arches spring from grouped shafts, 
matching those of the atrium, but of 
greater richness and variety, and with 
riclily sculptured archivolts. The rear 
wall of the narthex and west wall of the 
church is pierced in the first story by 



817 



MILAN 



three doorways giving access to nave and 
aisles, and in tlie second by tliree large 
round - arched windows under tlie nave 
vault ; upon which the nave, having no 
clerestory, depends for light. The front is 
flanked by two square campaniles varying 
much in design, and of widely different 
ages, that on the south, very plain, being 
presiimably contemjDoraneous with the 
oldest existing portions of the church, 
while that on the north belongs probably 
to the XII century. The great central 
lantern is one of the most striking external 
features of the church. It is of the full 
breadth of the nave, about 48 ft. exter- 
nally, and shows above the roof an octa- 
gon of two stories of arcaded galleries, 
the upj)er arches much larger and higher 
than the lower, under a rich cornice with 
intersecting arches, crowned b}^ a low 
pyramidal roof. In the interior, the nave 
is considerably more than twice as broad 
as the aisles. It is divided into four bays 
by massive grouped piers with flat pilas- 
ters toward nave and aisles, from the 
capitals of which transverse round arches 
cross the nave and aisles. Between the 
great piers are smaller intermediate piers, 
carrying two rather low round arches to 
each bay of the nave. Arches also cross 
the aisles from the intermediate piers, 
nave and aisles being thus divided into 
square bays, two to one, covered Avith 
simple four-part vaulting, the vaults of 
the nave having strong square diagonal 
ribs of brick with occasional stone vous- 
soirs, while those of the aisles have none. 
Above the aisle vaulting is a gallery, 
opening into the nave by arches precisely 
similar to those below, but lower, vaulted 
like the aisles below, and lighted like 
them by windows in the external wall. 
Over the fourth and last bay of the nave 
rises the octagonal lantern, its diagonal 
faces carried on squinches. The vertical 
wall, though high outside, is low inside 
and pierced by a single round-headed win- 
dow in each face. The pointed dome is 



without cornice or other architectural feat- 
ure, is decorated with frescoes of the xvi 
cent., and has a window in each face Just 
above the spring. Tlie choir opens from 
the nave by a single round arch as broad 
as the other transverse arches and lower. 
It has a shallow oblong bay covered by 
a barrel-vault, and a round apse with 
a hemispherical dome, lighted by three 
round-headed windows. The circular wall 
was formerly lined with marble benches 
for the clergy, in the centre of which 
was raised the cathedra or bishop's chair. 
The chair remains — a rude seat built 
up of stone masonry, covered by a mar- 
ble slab, and enclosed on either side by 
similar slabs, on each of which is the 
figure of a lion. The benches were dis- 
placed in the xiv cent, by wooden cano- 
pied stalls. The original decoration of 
the choir was elaborate. The hemispheri- 
cal vault of the apse still retains its splen- 
did mosaic on a gold ground, dating from 
880. A similar decoration covered the 
wall between the windows, of which only 
a trace remains. The same may be said 
of the frescoes with which the remaining 
walls of the tribune were adorned. The 
floor of the choir is raised about 9 ft. 
above that of the nave, and beneath it is a 
crypt, dating from 784, but repaired in 
1200, divided into five vaulted aisles by 
columns of red marble, with black marble 
Doric capitals, and opening into the nave 
by low round arches, two on either side of 
the high altar. The lower tribune is di- 
vided from the nave by a platform — still 
higlier by several steps than the pavement 
of the nave — upon which stands the high 
altar, a superb example of goldsmith's 
work, of which the four faces are panelled, 
the panels filled with figure subjects in 
relief, and the whole lavishly adorned 
with gold, enamel, and precious stones. 
Over the altar is a baldacchino or cibo- 
rium, which is one of the most notable 
works of the kind in existence. It con- 
sists of four columns of polished porphyry. 



318 



MILAN 



whose bases are beneath the present pave- 
ment of the church, with capitals of white 
marble, joined by stilted round arches, 
surmounted by a high gable on each face, 
and enclosing a groined vault, of which 
the thrust is met by iron tie-rods. Tlie 
arches and gables are executed in rough 
masonry and covered with stucco, but the 
decoration of this stucco — of the archi- 



ancient sarcophagus, presumed to be of the 
IV cent., and partly on seven slender col- 
umns carrying round arches. The pulpit 
is covered with sculpture, representing an 
immense variety of men and animals, of 
wliich the character is so vigorovis and 
telling, and the action so full of Gothic 
energy and vivacity, as to place the work 
in the first rank of early mediaeval art. 




Fig. 1 12. — Milan, S. Ambrogio. 



volts and sollits of Hio nrchos, the pilasters 
at the angk's, the groups in bas-reliefs 
under the gables, the birds on the abaci 
of the capitals — is to be ranked among the 
most admirable works of mediajval art. 
All is reinforced with gold and color, 
which has recently been renewed as nearly 
as possible in accordance with the original. 
Scarcely less remarkable than tlie cibo- 
rium and altar is the white marble pulpit, 
which is set against one of the northerly 
piers of the nave. It rests j^artly on an 



The original church, frdin which the pres- 
ent basilica has grown by successive re- 
buildings and additions, was built by St. 
Ambrose, and by him consecrated in 386. 
It is said that he caused his tomb to be pre- 
pared under the altar, and the sarcophagus 
which stands under tlie altar of the present 
church is popularly supposed to contain his 
remains. From the iv to the viii cent, 
the history of the churcli is not known. 
It was probably destroyed and rebuilt, and 
portions of the present sti'ucture (as the 



ai9 



MILAN 



apses and the bays next tliem) probably 
date from Arclibishojj Angilbert II., be- 




tween 824 and 859. The atrium, ac- 
cording to a sepulchral inscription, was 
built under Anspertus, between 868 and 
881, the northern tower in 1129. It has 
been believed by most authorities, includ- 
ing Dartein, that the church as we see it 
is mostly the work of Anspertus, but the 
latest, Cattaneo, argues plausibly that it 
is from a later rebuilding in the xi cent., 
and that the atrium is a half century later 
than the nave and aisles. In 1196 por- 
tions of the roofs of the nave and choir 
fell in, causing a partial destruction of 
the body of the church. When the re- 
building was undertaken, the central lan- 
tern was added. In 1631 the atrium, 
which had become ruinous, was repaired. 
Since 1870 the whole church has under- 
gone a thorough restoration. {See Figs. 
112, 113, lU.) 

S. Carlo Boeeomeo, a Renaissance 
church begun in 1838 from the designs of 
Amati. Its plan is a circle 105 ft. in di- 
ameter, covered by a dome of the same 
diameter, 120 ft. high, crowned with a lan- 
tern, and lighted by two stories of win- 
dows. The walls are adorned by an order 
of Corinthian columns of red marble. 



The church stands at the base of a square 
court of which the sides are formed by 
commercial buildings five stories 
high. A Corinthian colonnade 
is carried round this court ; a 
portion of it is broken forward 
to form a fagade for the church, 
making an octostyle portico, 
with a pediment charged with 
sculpture, above which, and 
quite overwhelming it by its size 
and height, rises the great dome 
surrounded by Corinthian pilas- 
ters, the intervals filled alter- 
nately by square windows with 
flat caps, and circular niches en- 
closing statues. 

S. Celso is but a fragment of 
a X or XI cent. Lombard church, 
which replaced an earlier one. 
The greater ])Ay^ of the present building 
was demolished in 1818 to open the south 




Fig. 114. — Milan, S. Ambrogio, Plan. 
Scale of 100 feet. 

side of the Church of the Assumption. 
The apse with one bay of the nave was 



220 



MILAN 



spared, and a new front was built across 
the west end, in which was jtreserved the 
old central doorway of the original facade, 
with some admirable sculpture. The high 
square tower, of brick with stone angle- 
quoins, standing at the east end of the south 
aisle, also belonged to the old Lombard 
church. The nave originally consisted of 
three bays, divided by grouj^ed stone jiiers, 
with four faces of square pilasters, from 
which transverse and longitudinal round 
arches were carried across nave and aisles 
and to intermediate nave j^iers. Trans- 
verse arches subdivide the aisles into 
square bays, two to each of the nave bays, 
those of the aisles being covered witli 
four-part vaults, and tliose of tlie nave 
by barrel-vaults. The apse, rather less 
than a semicircle in plan and lighted by 
three windows, has an arched corbel- 
table under the cornice, Avhich is sur- 
mounted by a semi-dome. Tlie inte- 
rior, with the exception of the ]}\evs, is 
wholly of brick. The sculpture of the 
capitals is interesting — its character is 
Byzantine, foliage and classic details 
being mingled witli figures of birds and 
animals in vigorous action as at S. Am- 
brogio. 

S. EusTOUGio, one of the oldest of the 
Lombard churches, but largely restored 
in modern times ; a simple basilica of 
brick, about 315 ft. long and T.") ft. broad. 
Tlie fa9ade, which was rebuilt in 18(i3-(),"). 
but in which the old architecture is substan- 
tially adhered to, has a single low gable, 
with arcaded cornices. Two square stone 
buttresses half as high as the front divide 
the lower portion into three compartments 
with three round-arched door waj^s, of which 
the middle one has a gabled porch. Over 
each doorway is a two-light round-headed 
window, and in the central division are 
two similar single windows. The south 
side shows a succession of low gables and 
chapels. The eastern apse has square but- 
tresses with large windows between, and 
behind it is a large square chapel dedicat- 



ed to St. Peter Martyr, with angle pinna- 
cles and a cupola or lantern, built in 
1460 by Michelozzo Michelozzi. A tall, 
slender, brick camiDanile, divided into six 
stories by arched corbel-tables, with two- 
light windows in the belfry, and a sharp 
spire, stands at the S. E. angle of the 
church. The interior, which has been 
repeatedly restored and modernized, is 




Eustorgio, Chapel of St. Peter 



full of irregularities. The nave, about 40 
ft. wide, is in eight bays — the piers vary- 
ing greatly in form, but for the most part 
grouped — a shaft or pilaster toward nave 
and aisle, from the capital of which a round 
transverse arch is thrown across, two 
others which carry the round nave arches, 
and scjuare members in the angles which 
run up to take the diagonal vaulting-ribs. 
The aisles are of different heights, the 
arches of different forms, and built some 
with brick only, some with occasional 
stone voussoirs. The nave vaulting dates 
from the xiii cent., the roof having been 
originally of wood, while the aisles were 



221 



MILAN 



probably vaulted from tlie first. From 
the east end opens a central tribune in 
one square vaulted bay, terminating in an 
apse, and the aisle baj^s are extended un- 
der continuous vaults into side chapels. 
The tribune was originally level with the 
nave, but the building of a crypt in 1537 
caused the floor to be raised. The orig- 
inal church is said to have been founded 
by Eustorgius himself, who occupied the 
chair of Milan from 315 to 331. It was 
probably rebuilt in the ix cent., and the 
apse may date from that time ; the body 
of the church is less old. The camj)anile 
was built 1297-1309. The church con- 
tains many interesting tombs, notably that 
of Peter of Verona, by Balducci of Pisa, 
dating from 1339, which formerly stood in 
the middle of the nave, but is now under 
the dome of the chapel of St. Peter Mar- 
tyr. Traces of paintings have been found 
on the nave-piers. {See Fig. 115.) 

S. Fedele, a Eenaissance church built 
between the years 1569 - 1579 for the 
Jesuits, by Pellegrino Pellegrini, called 
Tibaldi, iinder the authority of S. Carlo 
Borromeo. Its plan is extremely simple — 
a rectangular hall about 62 ft. wide and 
114 ft. long, its walls decorated with an 
order of comj)Osite pilasters in the inter- 
vals of which are shallow arched recesses. 
The length of this hall is divided by de- 
tached columns of polished red granite and 
a transverse arch into two nearly square 
bays, covered with very low domical vaults. 
The square choir is covered by a hemi- 
spherical dome raised on a higii tambour. 
Tlie whole interior is richly decorated. 
The exterior is in two stages, each consisting 
of an order of engaged composite columns 
and pilasters, on a high pedestal course. 
The fa9ade has a high central doorway, a 
large window over it, and all the other in- 
tervals filled with much decorated niches, 
panels, or bas-reliefs, for the most part in 
questionable taste. The fa9ade, left unfin- 
ished, was added as late as 1835 by Pestagalli. 

S. GoTTARDO, an interesting fragment 



of the old chapel which was incorporated 
in the early palace of the Visconti, built 
about 1335 and afterward altered into the 
present Palazzo Reale [q. v.). The chapel, 
perhaps a century and a half older, i^^as of 
the Lombard style, built of brick with 
terra-cotta ornaments. The portions which 
remain are the apse of the choir, octago- 
nal, with small angle shafts, an arcaded 
gallery at the top of the wall, with narrow 
round arches without columns, covered 
by an octagonal roof crowned by a lantern 
— and a fine tower on its south flank, 
also octagonal, with angle shafts running 
through its whole height, divided into 
many stages by string-courses of intersect- 
ing arches. A double arcaded gallery en- 
circles the head of the tower, above which 
rises a smaller octagon in two stages, the 
upper with an open arcade, crowned by a 
conical spire. The tower was probably 
Lombard, but considerably altered in the 
XIV century. {See Fig. 108.) 

S. Lorenzo, one of the most ancient 
and important churches in Milan. Its 
origin is doubtful and has been the subject 
of much controversy among archseologists, 
but there is little doubt that in whole or in 
part it was in its earliest form a rebuild- 
ing of an old Roman monument. It is ap- 
proached from the modern street under a 
colonnade of sixteen Corinthian columns, 
presumed to form a part of the portico of 
the old Roman Batlis, built toward the 
end of the iii century. From this portico 
one passes into a square atrium or fore- 
court, of which the surrounding arcades 
have wholly disappeared, and of which the 
farther side is occupied by the front of 
the church. Its plan is essentially a square 
of 75 ft. with semicircular apses or trib- 
unes on four sides, and the corners cut off 
between by arches, making an octagon of 
unequal sides, and leaving triangular re- 
cesses in the corners. A two-story vaulted 
aisle is carried round the whole, following 
tlie outline of the plan and separated from 
the central space l)y colonnades — Doric be- 



222 



MILAN 



low and Ionic above — an arrangement so 
much resembling that of the Byzantine 
church of S. Vitale at Ravenna, as to have 
led some authorities to consider the two 
buildings contemporary. The 
opening of the apse on each side is 
covered by a round arch, above 
which a Doric cornice encircles 
the octagon. From this cornice 
springs a high octagonal dome 
with a window in each compart- 
ment. The dome has been sev- 
eral times destroyed and rebuilt, 
and at each rebuilding has suffered 
a change of form. Four small 
square towers, standing at the an- 
gle of the original square of the 
hall, unite the exterior walls of 
the circular aisles. The j^repon- 
derance of authority seems to in- 
dicate the IV cent, as tlie date of 
this interesting monument. Un- 
der the Lombard kings of the viii 
cent, it was decorated with great 
splendor — its roofs and towers 
blazed with gold, and its interior was 
adorned with precious stones. It was par- 
tially burned in 1070 ; in 1104 the dome, 
with a portion of the walls, fell in; in 
1134 a second fire partly destroyed it, 
in 1575 the dome aiid vaults again fell, 
after which the church took the form in 
which it now exists. Opening from tlic 
circular aisles on three sides (the western 
entrance occupying the fourth) are three 
detached chapels of early date, doubtless 
built up from the foundations of apart- 
ments in the Roman buildings supplement- 
ary to the great liall. The most impor- 
tant of these is the Chapel of S. Aquilino, 
a vaulted octagonal building about 40 ft. 
in internal diameter, with niches alter- 
nately square and round occupying each 
side of the octagon, and built in the 
thickness of the walls, which is about 1 1 
ft. Between the crown of these niches 
and the spring of the dome is a gallery, 
also built in tlie thickness of the wall and 



opening into the chapel by a broad arch 
on each side. The dome is low, octagonal, 
and about 60 ft. high from the pavement. 
On the exterior is an arcaded gallery 




Fifj. 116.— Milan, S. Loren;,i 

masking the dome, similar to those of the 
central lanterns in the Lombard churches, 
but without columns, the arches carried 
on brick piers, liuttresses of slight pro- 
jection reinforce the angles. The roof is 
conical and low. The dome and vaults 
were origiiuilly covered with mosaics, which 
were still perfect as late as the beginning 
of tlie XVII cent., but of which only a 
few fragments now remain. This chapel 
is presumed to be as old as the v century. 
On the north side of the church is the 
Cliapel of S. Sisto, somewhat similar to S. 
Aquilino in plan and general construction, 
but much smaller and lower and without 
galleries. On the cast is the Chapel of S. 
llippolito, cruciform in plan within, octag- 
onal without, and covered with a groined 
vault. Four angle-shafts carry the arches 
\vhich enclose the four-part vault. The 
date of this chapel is doul)tful. Various 
later additions surround and obscure the 
original form. {Sec Fig. IIG.) 



MILAN 



The Columns of S. Lorenzo are tlie 
most conspicuous memorial remaining of 
the Eoman Mediolanum. They consist of 
sixteen time-worn fluted Corinthian col- 
umns of white marble, 29^ ft. high, and 
are held to be part of a colonnade belong- 
ing to the Baths of Maximian, dating from 
the III century a.d. Portions of ancient 
walls still visible in the church doubtless 
belong to the same baths. 

Sta. Maria del Carmine, a Gothic 
church of the Carmelites built about the 
middle of the xv cent., and repeatedly al- 
tered and restored. It has a nave of three 
square double bays, covered by four-part 
vaulting springing from heavy piers, and 
subdivided by intermediate piers corre- 
sponding to the bays of the aisles. The 
transept is like the nave, and tlie raised 
choir is in two narrow vaulted bays, ter- 
minating in a round apse. The front has 
been rebuilt in a jooor neo-Gothic style. 

Sta. Maria presso S. Oelso, a Ee- 
naissance church founded by Philip Vis- 
conti, the last duke of the name, and re- 
markable for the sumptuousness of its 
materials and decoration. The church is 
preceded by a square arcaded atrium in the 
style of Bramante, faced with an order of 
engaged Corinthian columns on pedestals. 
The outer front wall of the court has an 
order of flat Corinthian columns, coupled 
on pedestals. In the rear is the west 
front of the church, an extravagant com- 
position overloaded Avith ornamental feat- 
ures dating from the xvi cent., and at- 
tributed in whole or in part to Galeazzo 
Alessi. The interior has a broad nave 
covered by a barrel-vault, richly panelled 
and decorated, and aisles groined in square 
bays, round nave-arches springing from 
square piers faced with an order of engaged 
Corinthian columns with bronze capitals, 
supporting a continuous entablature above 
the arches. The crossing is covered by 
a polygonal lantern with a low drum, 
an external open gallery and a low polyg- 
onal roof, but finishing within as a do- 



decagonal dome. Two smaller domes of 
similar form cover the arms of the tran- 
sept. The choir has a polygonal end, and 
the aisle is carried round it. The walls 
and pavement are faced and inlaid with 
rich marbles. 

Sta. Maria delle Grazie, a late 
Gothic church of brick with Eenaissance 
transept, choir, and dome. The earlier 
portion, which, however, antedates the 
later only by about thirty years, consists of 
a nave without clerestory but with two 
aisles, each with a range of chapels open- 
ing from it. The fagade has a single 
broad low gable, and is divided into five 
compartments by plain pilaster-strips, end- 
ing in an arched corbel-table which follows 
the rake of the roof. In the three middle 
compartments are bad Eenaissance door- 
ways, in the four side compartments 
pointed windows. Over the central door- 
way is a large round window, and above are 
five smaller ones following the slope of the 
eaves. The side elevations have in each bay 
two simple pointed windows with a round 
window crowded between their heads. 
But the noteworthy feature of this church 
is the great central lantern or dome, ris- 
ing from a low, square tower, which oc- 
cupies the whole breadth of nave and 
aisles. From the north and south walls 
of this base project round ajoses, and from 
the east wall a square choir, also terminat- 
ing in an apse. The walls are divided by 
pilasters into panels, and are finished above 
the ridge of the nave roof by a classical 
cornice. The great dome which covers 
the choir is masked outside by a sixteen- 
sided lantern with an open eaves-gallery 
and low pointed roof, the transition from 
the square tower below being broken by 
small apses or oriels at the angles. All 
this portion of the church is the work of 
Bramante at the end of the xv century. 
The walls are much decorated, particularly 
those of the apses and choir, which are 
enriched with pilasters and cornices, can- 
delabra-columns and panels and medal- 



224 



MILAN 



lions with sculptured heads. These en- 
richments are for the most part executed 
in stone. The interior shows a nave and 
aisles of seven bays, square in tlie aisles 
and oblong in the nave, all vaulted, with 
a line of low vaulted chapels opening from 
each aisle, with windows in the outer wall. 
The nave and aisles open by- 
pointed arches into the great 
square choir, whicli is quite un- 
divided, and is covered by the 
hemisj)herical dome, 'i'lie chan- 
cel is in a single square bay cov- 
ered with a groin-vault and ter- 
minating in an ajose with a semi- 
dome. A long sacristy opens 
near the end of tlie north aisle, 
whicli has on the doors of a se- 
ries of presses whicli contain the 
vestments of tlie priests, some 
remarkable paintings by Bernar- 
dino Luini ; and on the end wall 
of the refectory connected witli 
the church is all which remains 
of the Cenacolo, or Last Supper, 
by Leonardo da Vinci. The 
ehurcli belongs to tlie last quar- 
ter of the XV cent. ; it was pro- 
jected in l-lG-l, says jMotlies. 
{See Fifj. 117.) 

S. Maurizio (or Monastero 
Maggiore), a small Renaissance 
church formerly attached to the 
great monastery, by which name 
it is sometimes known. It was 
built about 1500 by Dolcebuono, a pupil 
of Bramante, and consists of a rectangular 
nave witli a double order of Doric pilas- 
ters, the lower enclosing rectangular arched 
recesses or shallow chapels, the upper in 
each bay three openings divided by Corin- 
thian columns with a centre arch opening 
into a gallery running round the whole 
church over the cliapels. The interior is 
covered by a groined vault, decorated with 
frescoes, and divided by a panelled screen 
rising to tlie heiglit of the upper cornice, 
painted by Luini. 



S. Nazzaro Maggiore, an ancient 
church founded by St. Ambrose in the iv 
cent., but substantially changed some cen- 
turies later. Its plan consists of a nave of 
two square groined bays, projecting tran- 
sej)ts each with a single oblong bay and a 
round apse, and a choir of similar disposi- 




Fig. 117. — M ,1.1 S<i i\i .' lVi: p, 

tion to the transept, llu' ci-ossing being 
covered with an octagonal donie something 
over 80 ft. higli from tlio lloor. Attached 
to the west end of tlie church is a Renais- 
sance vestibule, square without and octag- 
onal within, of the full breadth of the 
nave and covered by a dome, on the walls 
of wliicli. aliove the doors, are eiglit sar- 
copliagi of the Trivulzio family. A similar 
chapel dedicated to St. Catharine is at- 
tached to the west wall of the nave, and 
at the N. W. corner is a square clock- 
to we i'. 



236 



MILA]^ 



S. Satiro is a Eenaissance church of 
the XV cent.;, ascribed to Bramante and 
built on the foundations of a Lombard 
church dating from 869, portions of which 
still remain. The plan is incomplete, 
forming a Latin cross without the choir 
arm. There is a short nave of five narrow 
bays, with side aisles — a transept with one 
side aisle, and in the eastern wall of the 
transept a shallow recess containing the 
altar. The nave is covered with a pan- 
elled barrel - vault, and the aisles are 
groined. The square piers carry round 
arches in the intervals of an order of Co- 
rinthian pilasters with richly decorated en- 
tablature. The crossing is covered with a 
hemispherical dome, showing outwardly as 
a round lantern with a low conical roof 
and cupola. The interior ornaments are 
in stucco and have much delicacy and re- 
finement. The exterior of brick has an 




Fig. 118 — Milan, S. Satiro^ Sacristy. 

order of flat Corinthian pilasters with a 
light entablature, low attic, and conspicu- 
oiTS lantern. 



The sacristy in the angle of 



the south aisle and transept, undoubtedly 
an early work of Bramante, is an octagon 
about 21 ft. in diameter with niches on 
four sides and square recesses on the other 
four, enclosed in an order of Corinthian 
pilasters with a high entablature. A sec- 
ond story of similar design is covered by 
a high elliptical dome with a tall cujjola. 
The sacristy is considerably higher than 
the church, and lavishly decorated. The 
ancient chajDcl of S. Satiro opens from 
the north transept, standing oblique to 
the church, and is a square of about 20 
ft. with four columns in the centre suj)- 
jiorting an octagonal lantern, and semicir- 
cular niches opening from three sides. It 
is believed to be part of the old church of 
the IX cent., but its exterior is modern. 
The tower which rises near it, doubtless 
the original one, is strongly Lombard in 
character, in four stages with pilaster- 
strips ending in arched corbel-tables and 
small round-headed windows. {See Fig. 
118.) 

La Scala, one of the largest and most 
celebrated theatres in Europe, begun in 
ITT 6 from the designs of Piermarini, and 
completed in 1TT8. Its plan is a rec- 
tangle 130 ft. wide and 320 ft. deep, the 
depth being almost exactly divided be- 
tween the auditoriixm, with its accessories, 
and the stage. The plan of the audito- 
rium is a horseshoe, measuring 8T ft. in its 
greatest width, 105 ft. in depth from the 
curtain, and 65 ft. in height, with seven 
ranges of boxes. The width of the cur- 
tain opening is 49 ft. Small cabinets cor- 
responding to the boxes line the outside 
of the corridor, which two staircases di- 
vide into three nearly equal parts ; and a 
foyer or saloon, 20 ft. by 80 ft., over an 
entrance hall of the same dimensions, opens 
from the rear of the principal range of 
boxes, the front of the building being oc- 
cupied by apartments for the administra- 
tion. The architecture of the fa9ade is 
an order of coupled Corinthian columns, 
between a basement of rustic work and a 



22(5 



MILETUS 



high attic surmounted by a balustrade, 
with a pediment over the central portion. 

The Villa Eeale is a modern palace 
built in 1790 by an Austrian architect of tlie 
name of Polack for tlie count Belgiojoso, 
but now belonging to the crown prince of 
Italy. It is an extensive building witli a 
symmetrical plan, surrounding three sides 
of a court. The advancing wings luive 
two stories of simple design, the centre, 
witli three, is marked also by a frontispiece 
of engaged Corinthian columns. Tlie gar- 
den fa9ade, much richer, has a rustic base- 
ment, and above, an order of Ionic col- 
umns and pilasters, embracing two stories 
and enriched with carving. 
MILETUS (Palattia), Caria, Asia Minor. 

Temple of Apollo Didyji.eus. The 
oracle of tliis ancient sanctuary was al- 
ready renowned over a thousand years Ijc- 
fore Clirist. The sanctuary was burned 
by Darius, and after a more or less com- 
plete restoration was entirely ruined by 
Xerxes. It was again restored after the 
Persian wars. Tlie style of tlie existing 
remains points to the Alexandrine epoch. 
The temple in its final form was contem- 
porary with those of Ephesus and Mag- 
nesia ; the design is atti-ibuted to the 
arcliitects Daphnis, of Miletus, and Pai- 
onios of Ephesus, the designer of the Ephe- 
sian temple of Diana. Vitruvius records 
an ancient estimate of this temple, witli 
the Artemision at Ephesus, the Sanctuary 
of the Mysteries at Eleusis, and the Zeus 
temple at Olympia, as the four most splen- 
did of classical antiquity. It was never 
roofed ; Strabo says that this was because 
of the enormous span to be covered. The 
temple remained till the v cent, a.d., and 
Avas no doubt overthrown by earthquakes. 
The cella walls still stand all round to a 
height of about 10 ft. ; they are 9 ft. thick, 
faced with gray marble and filled with 
rubble. In the interior they were orna- 
mented with pilasters corresponding with 
the interior columns ; the capitals of these 
pilasters present a very interesting design 



— they are of a somewhat Corinthian out- 
line with graceful anthemion ornament. 
Between the capitals ran a frieze of grif- 
fins and lyres. The temple was in plan 
159 ft. by 353 ft., measured from axis to 
axis of the angle-columns ; it was Ionic, 
decastyle, dipteral, on a stylobate of three 
stejis, with twenty-one columns on the 
flanks. The columns were 6 ft. 4 in. in 
diameter at the base, and G3 ft. 8 in. high ; 
the intercolumniation was 17 ft. 4 in. 
The shafts had twenty-four flutes of semi- 
circular section and no decorated necking. 
The columns of the front liad polygonal 
plinths ornamented with sculjiture. Three 
columns are still standing ; two of them 
still uphold their architrave, the third is 
unfinished. The shafts are formed of fif- 
teen drums. The architrave is in two 
slabs, and has an ornamental moulding at 
the to]). The volutes of the capitals were 
without the connecting cushion. The 
cella, measuring 97 ft. by 290 ft., is re- 
stored (though this restoration is not cer- 
tain at all points), as having a deep pro- 
naos with four columns in aniis, then, 
before the cella proper, an enclosed vesti- 
bule, and at the back a chamber divided 
from the main cella by two antaj with two 
columns between them. There were prob- 
ably two ranges of ten columns in the 
cella corresponding with the pilasters on 
the M'alls, and two columns at the front 
end connecting the side ranges. There 
was no opisthodonios. 

Theatre, built on the slope of a hill, 
but not excavated from it. It is entirely 
of stone, with a suri'ounding wall ; the ex- 
terior is cased with marble and enriched 
with sculpture. In plan it is a little more 
than a semicircle ; the exterior diameter is 
472 ft., that of the orchestra 224 ft. The 
elaborate capitals of the imjiost pilasters 
are composite, with Victories introduced 
among the foliage. Its immense walls can 
be seen distinctly from Priene, twelve miles 
distant. 
MKES. See Gadam. 



227 



MODEl^A 



MODENA, Italy. 

Cathedral, a Eomauesque cliurch of 
the XII ceut. with many characteristic 
features. Its dimensions are not veiy 
large, the whole length being somewhat 
less than 200 ft., the whole breadth abont 
70 ft., the breadth of nave 28 ft. The 
front follows the interior section, being in 
three divisions, the nave terminating in a 
low gable flanked by half gables against 
the aisle roofs. In the central division is 
a high ronnd - arched doorway under a 
shallow porch, with columns resting on 
lions. The porch has a second story with 
a broad awkward segmental arch, covered 
by a. very flat gable, forming a shallow 
niche, in which is a sarcophagus. Above 
this is a very large rose-window. A door- 
way opens into each aisle, with a horizon- 
tal panel over it filled with figures in re- 
lief. An open gallery of smaller arches 
on columns grouped in threes under 
enclosing arches runs across the whole 
front of the church below the level of the 
aisle roofs, and along the sides through 
the whole length of the cliurch ; the end 
walls of the transept, which do not pro- 
ject beyond the aisle walls, are carried up 
above it without preparation or any conso- 
nance of design. Tliere are two porches 
on the south side, one near the western 
angle and a larger one midway of the aisle. 
The latter is of two stages, the first stage 
having a broad round arch on columns 
resting on the backs of lions, the second 
three round arches and a low gable. The 
simple clerestory has small round-head- 
ed windows between flat pilaster-strips. 
The east end is wholly occupied by the 
three apses of the choir and aisles, the cen- 
tral apse a story higher than the others, 
and the flat end wall of the choir rising 
above it, with a small round window, a low 
gable, and two octagonal turrets at the an- 
gles teriiiinating in open arcades and oc- 
tagonal spires. At the N. E. corner stands 
a fine square campanile dating from 1.319, 
in six stages, of wliicli the last two appear 



to have been added at a later date and are 
perhaps contemporaneous with the spire. 
The interior plan is in some respects pe- 
culiar. The nave and aisles each termi- 
nate in an eastern apse, the transept arms 
are contained within the aisle walls. The 
nave has four square double bays ; the 
aisles have two bays to each one of the 
nave. The choir has a central bay en- 
closed by screens of coupled red marble 
columns, and aisles on each side. Its 
raised floor is approached by two flights of 
stairs against the aisle walls. Beneath the 
choir is a lofty crypt, with vaulted ceiling- 
supported on small columns, and opening 
into the nave by an arcade of five open- 
ings, the columns resting on animals. 
The nave jiiers are massive, with large 
vaulting shafts rising through the trifo- 
rium to the base of the clerestory, where 
their capitals, of rather classic character, 
are connected by a decorated string-course. 
From these capitals massive pointed 
arches are thrown across the nave, and the 
square bays between are roofed each by a 
simple four-part vault. Between the nave 
piers are low ronnd arches, two to each 
bay, divided by an intermediate round col- 
umn of red marble with foliated cai^ital. 
Above these arches is a broad triforium 
with low bearing-arches of awkward form 
enclosing groui^s of three round arches, 
and above these again are two round-head- 
ed deeply splayed windows in each bay. 
The triforium is here a broad gallery orig- 
inally intended for the use of the female 
portion of the worshippers, and opening 
into the aisles as well as the nave. The 
church was begun in 1099, and consecrat- 
ed by Pope Lucius III. in 1184. 
MOLFETTA, Italy. 

The former Cathedbal, dedicated to 
SS. Maria and Conrado, and dating j)rob- 
ably from the later half of the ix cent., is a 
small church, interesting as an example of 
the Byzantine influence. It is about 62 
ft. wide and 105 ft. long. The nave is of 
two domed bays on round arches spring- 



22S 



MOKCtIOYIXO 



ing from compound piers with Byzantine 
capitals. Tlie crossing, wliich is the choir, 
is a square bay like those of the nave witli 
a round ajise, and is covered by 
a higher dome, elliptic in sec- 
tion, whose plan is round within 
and octagonal without. At the 
bases of the domes are small 
round - headed windows. T h e 
transept ends, which 2)i"oject 
slightly beyond the aisle walls, 
have each a flat apse. These 
apses do not show without, the 
east wall of the church being 
straight. The floor of the clioir 
is raised, and beneath is a crypt. 
Various chapels, some modern, 
open from each aisle. The west- 
ern porch has been made into 
chapels, and the present en- 
trances to the church are on the 
sides. The square east end has at 
its base a blind arcade of inter- 
lacing arches and a single large 
round-headed window lighthig 
the apse, which is flanked by two 
tall slender towers, with three 
stories of two-light windows, and 
capped with an arched corl)cl- 
table and horizontal cornice. 
{See Fig. 110.) 
MONGIOVINO, Italy. 

Church of the Madoxna, 
an interesting small early Ee- 
naissance church built in 1524 
the designs of liocco di Vicenza. 
is the Byzantine one of a Greek cross 
filled out to a square. It is lined M'ith 
an order of Corinthian pilasters whicli 
cai'ry the barrel-vaults of the arms, while 
over the centre is a high dome borne on 
pendentives by four square pilaster-like 
piers. The choir, opening from the east- 
ern arm, is a miniature barrel- vaulted nave 
ending in an apse, and lined with a small 
arcaded order of pilasters. The fac;ades 
are elegant, faced M'ith a Corinthian order, 
wliich is that of the interior set on pcilos- 



tals, and containing on the transept-ends 
two handsome doorways in the manner of 
the early Renaissance. Above, the arms 




-20 from 
Its plan 



Fig, 1 19 — Mo;fetta, Cathedral. 

of the cross show in a narrowed second 
stor}', flanked by scroll buttresses and 
pierced each by a small rose, but lacking 
the expected pediment, and ending in a 
horizontal cornice. 
MONEEALE, near Palermo, Sicily. 

The C'athedral, begun in or before 
1187 by William II., the Good, is a three- 
aisled basilica some 300 ft. long by 120 ft. 
across the transept, with three eastern 
bays ending in round apses, whicli form 
the choir and adjacent chapels. The front, 
retreating behind two massive square 
towers, botwceu M'hicli is an open porch. 



MONEEALE 



lias been considerably degraded by altera- 
tions. The porch is masked by a Doric 
order over its three arches, the front be- 
hind stripped of its decorating arcade ; and 
one of the towers, which have pointed 
windows divided by mnllion-shaf ts, and are 
robbed of their tops, is a mere stump. 
The rest of the exterior is plain, except 
the east end, which is higher and broader 
than the nave. Here the three apses are 
splendidly decorated with three stories of 
interlacing pointed arcades, bands of mo- 
saic in marbles and bituminous stone, col- 
umns, and rosettes. The old atrium be- 
fore the front furnished the columns for 
an open arcade built on the north side at 
the end of the xvi cent., and on the south 
is a row of chapels against Avliich lies the 
great cloister of the adjoining monastery. 
The interior is brilliant with mosaics on 
gold ground, wainscoting of marble, and 
painted roofs. The nave, 45 ft. wide, is 
in eight bays of stilted pointed arches, 
carried on antique columns of granite, of 




Fig. 120. -Monreale, Cathedral. 

which many retain their original capitals, 
while others are renewed. The sanctuary, 
connected by open arches with the flank- 
ing chapels, forms a choir raised above the 
transept, and against its northern pier is 
the king's throne, as at Cefalu ; the cross- 



ing and transept arms are raised some 
steps above the nave for the use of the 
monks. The windows of aisles and clere- 
story are single and pointed, as are the 
openings everywhere. The open-trussed 
roofs are richly painted and gilded ; above 
the marble dado, which reaches to the 
height of the columns, the walls and 
apses, almost bare of mouldings, and even 
the stilt-blocks of the columns, are in- 
crusted with mosaic on a gold ground 
— pictures of saints and angels, subjects 
from scripture history, and ornamental 
designs. The choir-screens, altars, and 
pulpit are rich with perforated marble 
and geometric mosaic. The cloister is 
surrounded by an open arcade of pointed 
arches resting on couples of slender col- 
umns, which are grouped in fours at the 
corners. The shafts are enriched with 
carving and mosaic ; the capitals are end- 
lessly varied, and though probably all con- 
temporary, are Byzantine, Arabic, or Nor- 
man in style, according, it would seem, to 
the men who worked on them. 
The broad archivolts, whose 
mouldings curiously overhang 
the capitals, are banded with 
mosaic. At one corner is inset 
a small pavilion with a basin 
for ablutions. The tradition, 
not well supported, is that Will- 
iam, when hunting, fell asleep 
on this spot, and was directed 
by the Virgin in a dream to. 
build a church and convent 
here where one had been before 
in the time of Gregory the 
Great. Of the Benedictine 
monastery which he built, all 
the buildings except the clois- 
ter are renewed and without 
interest. The church remained compar- 
atively unaltered, except by dilapidation, 
till a fire in 1811 unroofed and dam- 
aged the choir. Since then it has been 
restored with much care and at great ex- 
pense. The handsome bronze doors of the 



MOI^TTE 



north and west entrances of tlie church 
remain, signed and dated by their makers 
resjiectively : Bonannus of Pisa, 1186, and 
Barisanus of Trani, 1179. {See Fig. 120.) 
MONTE L'ABATE, Italy. 

This Monastery, several miles from 
Perugia, belonged to the Cistercian order. 
It was erected early in the xiil cent., and 
was partly remodelled in the xiv century. 
The church is of a type until then almost 
unknown in Italy, and was one of the 
models from which the Franciscans and 
Dominicans copied their one-aisled vaulted 
churches later in the xiii century. It 
consists of one broad nave 110 ft. long 
by nearly GO ft. wide, divided into three 
oblong bays with lofty ribbed cross- vaults 
su2>ported on engaged five-sided pilasters. 
The wall- ribs and transverse ribs are 
pointed. The proportions are colossal, 
the low vaults starting at an unusual 
height. The facade is a plain square- 
topped screen, and is decorated with but 
one trefoiled pointed doorway and a wheel 
window, both posterior additions made in 
1335. To the same period belongs the 
pentagonal apse. Beneath the whole 
church is a fine crypt, divided across into 
two sections, both covered with cross- 
vaults ; the smaller section, next to the 
apse, divided into four aisles by columns 
and covered by twelve groined vaults, ap- 
pears to be earlier than the church. The 
larger section of the crypt, T8 ft. long, 
is divided into two aisles by an immense 
pier. Its four comjiartments are covered 
Avith fine low ribbed cross-vaults, and are 
separated by magnificent low transvei'se 
arches. A square tower rises at the right 
corner of the fa9ade ; its upper story is re- 
stored. In the monastery the most impor- 
tant work is the cloister, T8 ft. square, 
which was built between about I'i'K) and 
1297. Its two stories are preserved, which 
is rare. Each side consists of a series of 
low pointed arches in grou})s of tliree, rest- 
ing on single shafts witli undocoratod 
capitals, which alternate with live square 



l^iers. This arrangement is repeated on 
the second story. The material is stone. 
Although extremely simple, this cloister is 
eminently picturesque and one of the most 
effective in Italy. The style of this mon- 
astery is an Italian adaptation of transi- 
tional Gothic, and is not in the line of 
Cistercian development rejjresented by 
Fossanova {q. v.) and its kindred monas- 
teries. It has been generally su2:)posed 
that the type of the single-aisled church 
was introduced by the mendicant orders, 
but in this, as in other architectural mat- 
ters, they ajipear to have copied from Cis- 
tercian models of sujDerior excellence, for 
the interior of Monte I'Abate is finer than 
any of their Avork. [A. L. F., Jr.] 
MOXTECASSIXO, Italy. 

This famous Monastery was founded 
as early as 528 by St. Benedict himself, 
destroyed by the Lombards in 590, rebuilt 
in 700, and grew gradually in size and 
importance, until it included several 
churches, with cloisters, dormitories, re- 
fectories, and other accessories, most of 
which have been several times rebuilt or 
have disappeared. The little Church of 
the Crucifix (II Crocefisso) still remains of 
the original construction ; cruciform in 
plan, the four arms covered by barrel- 
vaults which abut against the dome that 
covers the crossing. A century or two 
later, perhaps near the end of the a'iii 
cent., the snudl church S. Maria delle 
Cinque Torre was built, a square of about 
57 ft., with an inner square of 20 ft., 
surrounded by twelve fluted granite and 
marble columns with Corinthian capitals 
bearing round arches, tliree on each side. 
From the corners of the inner square, 
transverse arches spring to the outer wall. 
The four corner squares thus formed, as 
well as the central square, are carried up 
as low towers, the central one being the 
highest. Three semicircular apses open 
from one side of the outer square. All 
ceilings are of wood, aiul 2)ortions of them 
are painted by Luca Giordano. The walls 



231 



MONTEFIASCONE 



also retain traces of paintings of tlie xiv 
century. The exterior wall is divided by 
blind arcades, with seven arches on each 
side, and an arched corbel -table at the 
cornice. The towers have a single round- 
arched window in each face. 

S. Salvatore, the great church, was 
built originally by Gisulf in 797, but it is 
improbable that much of its original con- 
struction survives in the present building, 
which dates only from about 1640, and 
was finished in 1727. It is a Kenaissance 
church, in plan a Latin cross, with a dome 
at the crossing, a barrel-vaulted nave, aiid 
groined aisles. Over the main arcades is a 
great order of Corinthian pilasters on ped- 
estals. The vault of the nave is pierced 
with lunettes, and the whole interior dec- 
oration is of extreme magnificence in the 
richness and variety of its marbles. A 
noble courtyard, with open arcades and a 
central fountain, is attributed to Bramante. 
MONTEFIASCONE, Italy. 

S. FLAViAiS^o, a singular church, found- 
ed early in the xi cent, and partially re- 
built in 1262-65 by Pope Urban IV. Its 
position on a sharply sloping hillside led 
to the construction of an upper and a 
lower churcli, the one entered from the 
east end, and the other from the west. 
The plan is a simple rectangle, divided by 
two rows of piers and columns of various 
forms and sizes into a nave and aisles of 
nearly equal width. In the lower church, 
which has much the effect of a crypt, the 
piers are low, with capitals of varying de- 
sign, some grotesque, supporting arches 
of various heights, some pointed, others 
round, the bays being covered by a low 
groined vaulting. The east end of the 
lower church makes tliree sides of an octa- 
gon, in each of which is a great semicircu- 
lar niche. The vaulting of two bays of 
the nave is omitted, making a rectangular 
opening into the upper church, where nave 
and aisles are divided by small columns, 
four on each side, with openings increas- 
ing in breadth and height from end to end. 



The arcades support a blank wall rising to 
the low wooden roof, which covers nave 
and aisles in a single slope. The f a9ade is 
of peculiar design, having a slightly pro- 
jecting porch over its whole breadth, 
with three deep pointed-arched recesses 
divided by stout columns, the middle 
arch enclosing a doorway. Above the 
porch is a low covered balcony also ex- 
tending quite across the front, and a flat 
gable covering all. 
MONTEPULCIANO, Italy. 

The Cathedral is a cruciform Renais- 
sance church, of which the original de- 
sign is attributed to Bartolommeo Am- 
manati, begun in 1570, finished in 1680, 
and consecrated in 1710. Its extreme 
length is 210 ft., its breadth about 125 ft. 
Its nave is covered by a plain barrel- vault, 
and is divided from the groined aisles by 
an arcade of five round arches on each 
side, springing from square piers faced by 
simple Doric pilasters carrying an entab- 
lature. Nave and aisles open by round 
arches into a transept witli a single groined 
bay on each arm, terminating in a rectan- 
gular chapel. From the crossing, which is 
covered by a hemispherical dome, opens 
the choir, a single rectangular bay with 
round apse, flanked on each side by a rect- 
angular chapel. Similar chapels open 
from the aisles o'n each side. The front 
remains unfinished ; it has a square cam- 
panile at the northern angle, dating from 
the middle of the xv century. 

Madonna di S. Biagio, a small but 
noteworthy Renaissance church begun 
from the designs of Antonio di San Gallo 
in 1518. Its plan is a Greek cross about 115 
ft. in each direction, with a dome at the 
centre, raised on a high drum with Ionic 
pilasters and broken entablature, and 
round-headed windows and niches in the 
intervals. The fa9ade and transept ends 
are much alike ; in two stages, with flat 
pilasters at the angles, a full Doric en- 
tablature over the first story, a simple frieze 
and cornice over the second, finishing with 



333 



MOXTE 



a pediment ; an entrance door in the mid- 
dle of the first story, a single window over 
it, both with entablature and pediment. 
The second story wall is divided into ver- 
tical panels. A square detached tower 
stands in the N. W. angle of the cross, 
with three stories of engaged pilasters and 
columns and an octagonal belfry -stage 
surmounted by a low spire. The interior 
is without aisles ; massive angle-i^ilasters 




Fig 121. — Morrtepulciano, Madonna di S. Biagio. 
Scale of 100 feet. 

Avith a heavy Doric entablature, supj^ort a 
barrel-vault richly panelled and decorated. 
East of the choir is an apse, round with- 
out, but containing a rectangular sacristv 
Avith niches in the ends, shut otf by a wall 
behind the high altar. Tlie interior of 
the drum is faced with a Corinthian order. 
{See Fir/. 121.) 
MOXTE SAXT' AX(iKL(), Italy. 

The Bai'Tistkhy, dedicated to S. Pietro, 
is a sqiiare. tower-like building, of uncer- 
tain Init very early date. The interior is 
especially interesting, its angles occupied 
by grouped shafts bearing pointed Avall- 
arches, in one of Miiich is the entrance, 
and under another, opposite, a semicircu- 
lar apse with pointed half-dome. Over 
the arches is a vaulted gallery in the thick- 
ness of the wall, Avitli three small round 
arches on each side, springing from broad 
piers faced with half columns, and with 
s(iuinches in the angles under the corners 



of the liigh dome, which is in plan a square 
with rounded angles. The dome above 
the arcaded gallery is divided by string- 
courses into three stages, of which the 
first two are conical, and the upj^ermost is 
a pointed dome built in horizontal courses, 
its ai^ex about 70 ft. above the floor, the 
effect of the whole being that of a high 
semi-ellipse. In the lowest stage are three 
small two-light windows in each side, with 
mid-wall shafts. The sculpture is inter- 
esting throughout. 

S. MiCHELE, the Church of the Arch- 
angel Michael, is a subterranean Gothic 
chapel of the xiii cent., attached to the 
sacred cavern where the saint is said to 
have appeared in 491, in a vision, to St. 
Laurence, Archbishop of Sipontum, and 
is a famous jilace of pilgrimage. From a 
little square of the town a pointed-arched 
doorway of marble, flanked by two col- 
umns on each side, gives access to a de- 
scending staircase of fifty-five steps, exca- 
vated in the rock, covered by a vaulted 
ceiling lighted by several openings in the 
rock above, and flanked by niches with 
monuments. At tlie bottom is an open 
court, on the east side of which is the en- 
trance to the church — a round arch flanked 
by two pilasters and two columns on either 
side — the opening closed by fine bronze 
doors, cast in Constantinople in 10T6. 
The church is rectangular in plan, without 
aisles, covered by fine Gothic four-part 
vaulting Avith strong transverse and diag- 
onal ribs springing, on the .south side from 
trijile grou^jed vaulting shafts which rest 
at mid-lieight on the solid rock, Avhicli here 
forms the Avail of the church, and on the 
north side from single shafts. On the 
south wall opens the cavern, roofed by the 
natural rock at A'arying heights, rising in 
the middle to about 17 ft.. Avith an aA"er- 
age breadth of 50 ft., and a length of 57 
ft. to G6 ft. It contains the ancient altar 
to St. Michael, and six modern altars con- 
secrated in l(i78. On the north side of 
the church arc tAvo chapels, opening by 



MONZA 



low arches, of which one serves as choir. 
Ou the east end is a square vaulted chapel. 
Oldening by a high pointed arch, and con- 
taining the high altar, backed by a rich 
Kenaissance screen. There is a fine early 
bishop's chair, of marble, resting on two 
crouching lions, and covered with beauti- 
ful decoration in mosaic and bas-relief. 
MONZA, Italy. 

The Broletto (Town-hall), a small but 
interesting example of the medieval mu- 
nicipal buildings of North Italy. It is a 
detached brick building, measuring about 
42 ft. by 64 ft., its first story open to the 
street, and consisting of high pointed 
arches of brick springing from j^lain 
square stone piers, without caps or impost 
moulding. A cross arcade through the 
middle of the building bears the floor 
of the second story, which is occupied by 
the public hall. The ends are gabled, 
the angles reinforced by slightly project- 
ing piers. In the centre of tlie south front 
is the ringliiera or balcony, from which 
the people were addressed by the magis- 
trates. On either side the balcony, and 
above it, is a three-light window with 
round-headed o|)enings divided by columns 
and a strong, round bearing-arch with 
brick and stone voussoirs. The north end 
is half occupied by a square bell-tower, 
divided vertically by flat pilaster-strips, 
and horizontally by string-courses with in- 
tersecting brick arches beneath, and with 
a belfry having two simple pointed open- 
ings in each face, the whole crowned with 
forked battlements and a low octagonal 
spire. The building i)robably dates from 
the end of the xii century. 

The Cathedral, an interesting xiv 
cent. Gothic church, with nave, double 
aisles, of which the two outer are divided 
into chapels, transept, and apsidal choir, 
and measuring roughly about 225 ft. in 
length and 90 ft. in breadth. Its fa9ade 
is of peculiar design, built of a yellowish 
marble, with alternate courses of dark 
gray. Square buttresses, rising from the 



ground and terminating in pinnacles, divide 
the front into five compartments answering 
to the nave and aisles. The roof gable, 
slightly broken at each division, has a blank 
arcade of columns carried on corbels fol- 
lowing the slope. The original pinnacles 
have disappeared excej)ting one at the 
south angle of the front, which is ex- 
tremely graceful, with a canoj^y of four 
cusped Gothic arches on columns, and a 
sitting statue within, surmounted by dec- 
orated gables on the four sides and a 
crocketed spire. The central division of 
the front has a slightly projecting porch, 
round arched, with splayed columnar Jambs, 
a tympanum bearing reliefs, roundels in 
the spandrels with figures, and a horizon- 
tal cornice. Above the porch is a rose 
window of thin tracery, set in a square 
panel with trefoils at the angles, and en- 
closed by a border of small square panels 
with rosettes. This enrichment of square 
panels is continued by four additional rows 
above the window, and crowned by a line 
of small cusped round-arched niches con- 
taining statues. The side divisions are 
occupied by windows of various forms, 
pointed, round-headed, and circular, of 
which the larger are divided by columnar 
mullions into two and three lights, with 
traceried heads. The remainder of the 
church is of brick. There is an octago- 
nal lantern over the crossing with two 
stories of arcades, and a pyramidal tiled 
roof. The interior has been entirely mod- 
ernized. It contains many relics of the 
old Lombard kings — among others the 
iron crown with which a line of thirty-four 
of those monarchs were crowned, and 
which was also used at the coronation of 
the Emperor Charles V., and of NajDoleon. 
The first church on this site is said to 
have been finished in 595 ; a new apse was 
added in the ix century. The church was 
enlarged, and probably substantially re- 
built after 1311. An inscription on the 
east end gives a date of 1390. The architect 
was Marco di Campione, or Matteo Cam- 



234 



MOSCUFO 



pigliano. The square brick campanile, 
240 ft. high, which stands at the north 
angle of the front, is of later but uncertain 
date. 

Sta. Maria iisr Strada, a Gothic 
church dating from the middle of the xiv 
cent., of which the interior has been dese- 
crated, and the only interesting 
part is its west front, a vei'v elab- 
orate example of terra-cotta dec- 
oration lately restored. It is a 
high brick fa9ade of simjjle out- 
line, with square angle buttresses 
and a low gable. The lower story 
is very plain, with a square- 
headed door whose arch is en- 
closed in a square panel Avith a 
geometrical decorated border. A 
range of cusped, gabled, and 
pinnacled arches crosses the 
front just above the doorway. 
Above these is a beautifully dec- 
orated rose window flanked on 
each side by a two-light, pointed 
and cusped Avindowwith ])earing- 
arch. All tliree are enclosed in 
squares bordered by rosettes in 
square panels. In the low gable 
is a central niche enclosing a 
statue of the Virgin and flanked 
by two round openings, and over 
it a very rich cornice of inter- ' 
lacing arches. At the south an- 
gle of the fa9a.de is a square tower 
with a belfry stage, Avith large pointed two- 
light windows, traceried frieze, and a dAvarf 
spire among four pinnacles. (»SV^ Fig. 
122. ") 
MOSCUFO, near Chieti, Italy. 

Sta. Maria ijsr Lago, a small early ba- 
silica belonging to a monastery estab- 
lished in the A'li cent., but much cluinged 
by repeated restorations, the last of Avhicli 
was made in 1733. It is rectangular in 
plan, about 85 ft. long and 3G ft. broad, 
with flat-ceiled nave and aisles separated 
by six round arches on each side on col- 
uiiiiis. the niiddk' one of Avliich lias a pair 



of columns built up into a pier. The 
nave and aisles each end in an apse, and 
their three eastern bays, considerably 
broader than the others, make a raised 
choir. The exterior is modern, but the 
front retains portions of the ancient door- 
way. The church contains a fine i^ulj^it 




Fig. 122. — Monza, S. M. in Strada. 

dating from 1150, standing on stout col- 
umns Avhich su2)2"»ort rouiul cusped arches. 
The four faces of the pulpit and the s^^an- 
drels of the arches are covered Avith figure 
sculpture, the book rests supported by 
angels, the staircase approaching the pul- 
pit is of similar character. Tlie scul2:)ture 
is heightened Avitli color. 
MONTE SAN GIULIANO (anc. Eryx), 
Sicily. 
Carthagixian" Ramparts, not older 
than the iv century B.C. On the north- 
Avestern side of tlic moderu toAvn the loAver 
])ovtions of the aiicioiit Avail survive for a 



235 



MOUJs'T 



length of two -thirds of a mile. The 
blocks, some of them 6 ft. long, bear Phoe- 
nician letters as masons' marks. The wall 
is abont 8 ft. thick, and is strengthened 
with rectangular towers of great projec- 
tion. Several small posterns of the Phcs- 
nician work remain, some covered with a 
lintel, and some by corbelling out the side 
stones in a pseudo-arch. The masonry, 
while not careless, has not the Hellenic 
evenness and beauty of execution. 
MOUNT OHICtEI. See Neandreia. 
MOUNT HERMON (Jebel es- Sheikh), 
Palestine. 

Temple of Baal-Hermok (?), on the 
central or second highest summit of the 
mountain. Tlie peribolos is oval, built of 
large, well-hewn blocks, the lowest course 
of which rests on a smoothed bed cut in 
the rock. On the south side of the peri- 
bolos are the remains of a small temple, 
in part of masonry with margin - draft. 
Toward the N. E. there is a large grotto, 
before the mouth of wliich stood two pil- 
lars. A Greek inscription has been found 
within the peribolos. 
MOUNT OCHA, Euboea, Greece. 

Temple of Hera Teleia, or of Zeus 
and Hera, called House of the Dragon by 
the peasants, considered the most ancient 
Greek building extant. It is constructed 
of enormous blocks and slabs of stone. 
The roof is corbelled in, the inner surface 
being cut to a smooth slope. An opening- 
twenty inches square is left in the middle. 
The dimensions of the temple are 41 ft. 8 
in. by 25 ft. 3 in. without, and 32 ft. 4 in. 
by 16 ft. 3 in. within. The height of the 
walls within is 7 ft. 9 in. In the south 
long wall is a doorAvay 4 ft. by 6 ft. 10 in. 
A bracket projects from the interior west 
wall, doubtless for the image of the divin- 
ity. 
MOUNT PTOON, Boeotia, Greece. 

Acropolis. The ruins date from vari- 
ous epochs, and are in part, especially on 
the west side, in excellent preservation. 
On this side, the wall is still about 10 ft. 



high and 8 ft. thick. There is an attempt 
to attain horizontal courses — though these 
are interrupted by larger blocks. In one 
place a little door in the wall less than 
4 ft. square remains ; and there are sevei'al 
sally-ports through which the defenders 
could make a sudden attack upon be- 
siegers. There are some remains of lesser 
constructions ; and lines of more ancient 
polygonal walls can be traced, leading in 
the direction of Lake Copais. 

The Temple of Apollo Ptoos stood 
upon a terrace of stone on the side of a 
steep slope. A flight of steps led from 
the bottom to the top of the terrace. It 
was Doric, 76 ft. 5 in. by 38 ft. 9 in. 
The visible portions of the foundations 
are in Poros ; those that were concealed, 
in the stone of the locality. Some capi- 
tals, fragments of the entablature, drums 
of columns, antefixes in terra cotta, and 
tiles survive, with traces of decoration in 
color. The cajoitals and shafts were coated 
with a white stucco. A highly interesting 
and important series of archaic sculptures 
was found on the site. The oracle en- 
joyed high repute up to the time of the 
Macedonian invasion. 

MOUNT TABOR (Jebel et-Tiir), Pales- 
tine. 

FORTIFICATION'S, of great extent, on the 
summit of the mountain. The walls are 
of large stones, with margin-draft, and 
preserve remains of towers and bastions. 
They are further strengthened by great 
ditches, cut in the rock. Toward the S. 
E. are ruins of a citadel. The remains are 
undoubtedly those of the fortifications 
built by Josephus in the first cent, a.d., 
who himself utilized more ancient works. 
The crusaders in turn restored the fortress, 
and left abundant marks of their occupa- 
tion, as the pointed gateway and the loop- 
holes in the citadel, and several chapels 
within the enclosure. 
MUJELIA, Syria. 

One of the deserted towns of northern 
Syria, with its stone houses and other 



236 



MUEANO 



buildings well preserved. The basilica is in the upper story the wall is set back so 

noteworthy for having the arches of its as to form an open gallery protected by a 

main arcades cut out of two horizontal delicate balustrade of white marble be- 

courses of stone, instead of built up of tween the columns. Between the two 



voussoirs in the usual fashion. There is 
also a small semi-octagonal church which 
has similar arcades, and resembles in other 
respects a Roman theatre, having the cen- 
tral space open to the sky, and the apse 
and two adjoining chambers under roof in 
an oblong transverse building like a stage. 
MURANO, Italy. 

Cathedral (S. Donato), a chun-li of 
much interest, built perhaps in the x 
cent., although no authentic record of its 
building is known to exist. It has been of 
late years so thoroughly restored by the 
Italian (xovernment that little remains of 
the original church save the general dis- 
position and the east end. Its plan is 
cruciform, with nave and aisles, transept 
not projecting, and choir and a single 
eastern apse. The mive arches rest on 
columns of white and gray cipollino 
marble with Corinthian capitals, doubt- 
less taken from some older building. The 
walls are lined with marble in the lower 
portions, and decorated above with mosaics 



stories is a double frieze consisting of two 
lines of upright triangles or chevrons, the 
lower of white, yellow, red, and green 
marble carved in various designs ; the 
iij)per of yellow bricks relieved against 
the wall of red bricks. The lower band 
of triangles is carried around the circular 
head of the wiiulows in the aisle ends as 
an archivolt. Tlie harmony of colors in 
this remarkable composition, and the skill 
with which the effect of richness and 
elegance is gained with a very sjiaring use 
of any but the commonest materials, make 
this work most interesting. A high square 
campanile rises from the south wall of the 
church witli tall l)lind arches of brick in 
two stories, and a belfry stage with three 
grouped arches in each face. 

Palazzo ])A .Mr la, nearly the only re- 
maining example in Murano of a Gothic 
Venetian palace, and interesting from its 
variety of ornamental detail. It is of 
brick in three stories, of which the lowest 
has in the centre a round-arched doorwav 



aiul frescoes. The apse is covered with a flanked by two square windows, all of 
hemispherical vault, which is adorned with which have evidently undergone consider- 
fine early mosaics. The iiavement of the able alteration. On either side is a single 



church is of marbles of various colors, 
a fine example of (i/)i(s AJe.randrinuin, 
and bears an inscription with the date 
of 1140. The most notable portion of 
the church is the outside of its east 
end. The great central apse is polygonal 
and is flanked by the end walls of tlic 
aisles on either side, finishing with half- 
gables. Two stories of stilted i-ound 
arches are carried across the whole end, 
with coupled columns at the angles of the 
apse and in the second story of the aisles. 
The columns are of white and colored 
marble, the arches are of ln'ick in two 
colors, red in the lower story and yellow 
in the upper. 'V\w arches of the lower 
storv enclose semicircular vaulted niches ; 



ogee-arched window witli pilasters in the 
jambs and a thin billet-moulding following 
the line of the arch. The second and 
principal story has in the centre a fine ar- 
cade of four cusped ogee openings, with a 
projecting balcony. The arches rest on 
large columns with capitals showing more 
of the classic feeling than is usual in the 
Venetian palaces of this type. Aljove the 
central column is a niche with a cusped 
ogee arch resting on square ])ilasters, en- 
closing a statue and flanked l>y sleiuler 
columns which rest on the finials of the 
two middle arches, and of which the capi- 
tals are of a pronounced Byzantine type. 
On each side of the arcade is a large and 
high window enclosed in a square panel 



237 



MUSMIYEH 



with graceful tracery in the liead, and a 
balcony witli square pilasters for balusters. 
The wall piers of the story are decorated 
with roundels containing tracery of various 
forms, with upright panels containing bas- 
reliefs and with inlaid patterns of colored 
marbles. The third story is low, with 
square modern windows and decorative 
panels set in the wall. 
MUSMIYEH, near Damascus, Syria. 

The so-called Temple, which was con- 
verted into an early Christian church, and 
has also been called by M. de Vogiie the 
Pretorium, bears inscriptions which in- 
dicate that it was built between 160 and 
170 A.D. under Marcus Aurelius and 
Verus. It is a small building, only about 
50 ft. by 70 ft., but interesting for its 
elegance, and because it is perhaps tlie 
oldest example of tlie typical plan of the 
smaller Byzantine churches. It had a 
portico of six Corinthian columns, leading 
by three doors into a square area, beyond 




Fig 123— Mycenae Lion Gate. 



which are the central apse and two flank- 
ing chambers that belong to the Clreek 
churches. The square area is marked ofE 
by cross-arches into a Greek cross, in the 



usual way. The spaces between the arms 
of the cross are flat ceiled with stone slabs, 
the arms barrel-vaulted witli the same 
material ; the central bay was apparently 
covered by a cloistered dome of rubble. 
The arches are carried by sixteen Corin- 
thian columns, bearing on impost blocks 
that rest directly on tlie capitals ; if this 
is"the original arrangement, it is the oldest 
examjile of a construction that gave the 
type to mediaeval architecture. 
MYCEN/E, Argolis, Greece. 

LiO]sr Gate. Kuins of primitive and 
ancient Hellenic civilization are distrib- 
uted between the acrojiolis, the lower city, 
and the surrounding country. They ap- 
pear to have been very much in their pres- 
ent state since the destruction of both 
Mycenae and Tiryns by Argos, 463 B.C. 
The most important remains are those of 
the Acropolis. The walls of the acropolis, 
which form a rude triangle, roughly 1,000 
ft. by 800 ft. by 650 ft., are massive, built 
of large stones, smaller in gen- 
eral, however, than those at 
Tiryns, some undressed, others 
polygonal, or squared. At the 
N. W. angle is the chief entrance, 
the Gate of Lions. This is ap- 
proached by a strategic passage 
33 ft. wide and 50 ft. long. The 
gateway is lOi ft. high, 10^ ft. 
wide at the bottom, and 9J ft. 
Avide at the top. The lintel which 
rests upon the inclined doorposts 
is 16^ ft. long, 8 ft. through, 
and more than 3 ft. thick in the 
middle. A triangular opening 
left in the wall over the lintel is 
fllled by a slab 10 ft. high, 13 ft. 
wide at the base, and 2 ft. thick, 
upon the exterior face of which 
is the very ancient relief which 
gives the gate its name, repre- 
senting two lions or lionesses reared on 
their hind legs and separated by a pillar 
of curious form. The heads are gone ; 
they were turned toward those who ap- 



238 



MYLASSA 



proached, and were probably of metal. 
{See Fig. U-J.) 

On a terrace within the Lion Grate is 
a double circle of upright slabs, about 
80 ft. in diameter. The two circles were 
originally joined by horizontal slabs. 
AVithin it Schliemaun found five large 
graves with human bones and the remark- 
able gold ornaments of rude workmanship 
but able design which have excited active 
discussion, together with bronze and obsid- 
ian weapons, and pottery. A sixth grave, 
with similar remains, has been since found 
within the circle. In the N. E. jiart of 
the acropolis remains have been excavated 
of a palace similar to that at Tiryns, but 
of simpler plan, though more advanced 
workmanship. A temple was later built 
over the site of the palace. Remains of rock- 
steps, cisterns, aqueducts, dwellings, etc., 
are abundant on the acropolis, in the lower 
town, and throughout the neighborhood. 

Treasury of Atreus, or Tomb of Aga- 
memnon. This is the most perfect one of 
a considerable number of circular under- 
grouiul tombs in the neighborhood of 
Mycenje, with pseudo- vaults formed of 
corbelling cut to domical shape. The aj)- 
proach or dromos is b" a walled passage :io 
ft. long. The entrance is 19^ ft. high, 8 
ft. wide at the top, and 8i ft. wide at the 
base. One of the two lintel - blocks is 
about ;50 ft. long, 10 ft. through, and ."J 
ft. thick. As in the Lion (iutc, a tri- 
angular ()j)ening was left above to relieve 
the lintel ; the slab which fornuM'ly filled 
this is gone. The interior, of beehive 
shape, is about 50 ft. high and hi) ft. in 
(liaiueter. The wall was originally orna- 
mented with rosettes of metal fastened by 
bronze nails. A doorway about !) ft. high 
leads to a small square chamber, which 
was the tomb proper. 

Note. — In the neighborhood of the bee- 
hive tombs, a number of square rock- 
tombs with ceilings cut to a ridged form 
have been excavated. These are later 
than the former ; but the pottery and 



other objects found in them belong clear- 
ly to the same civilization which jaroduced 
the oldest objects, those from the tombs 
within the ring on the acropolis. The ob- 
jects found at Mycena; are now seen to il- 
lustrate a continuous development, from 
the very ancient acropolis tombs and the 
later palace to the time of the rock-tombs. 
In the latter, some pottery of the Dipylon 
style was found with the earlier objects, 
together with other evidences of what is 
known as the Hellenic civilization. The 
so-called Mycentean pottery is decorated 
especially with motives derived from ma- 
rine animals and plants, together with 
combinations of s})irals and palmettes ; 
and the latter motive, together with more 
or less elaborate rosettes and bosses, is 
characteristic in Avall-])ainting and scul^it- 
ure, and upon the remarkably abundant 
ornaments and utensils of gold found es- 
pecially in the earliest graves. The inlay- 
ing of some bronze swords and daggers and 
some silver cups with animal and other 
designs, in different metals and in various- 
ly colored gold, is of remarkable beauty, 
and points to Egyptian iirototypes. The 
early civilization is plainly that described 
in Homer, and is closely akin to that of 
the second city at Ilissarlik, though later 
and richer. 

.MYLASSA. See Mchiii.m. 
MYKA, Lycia, Asia Minor. 

Theatre, among the largest and best 
built in Asia Minor. The exterior dia- 
meter is 3no ft., that of the orchestra 1:20 
ft. T'iie material is a white limestone, al- 
most as Ix'autiful as marble. The stage- 
wall, whicii faces tiie south, was decorated 
with polished granite columns with com- 
posite capitals of white marble ; one of 
these columns is still in place, the others 
lie as they have fallen before the wall of 
the proscenium. The cavea had two 
groups of seats, twenty-seven tiers in the 
lower, and twenty in the upper. All the 
masonry is of the finest construction, laid 
without mortar. 



239 



MYTILENE 



There are fine remains of several public 
buildings, besides the theatre. The rock- 
necropolis is of much interest ; the tombs 
are generally large and formed of several 




intercommunicating chancers, and their 
exterior decoration includes figure re- 
liefs. 
MYTILENE, Lesbos, Mgean Sea. 

Aqueduct of Roman date, built of 
marble where above ground, with evi- 
dences of Byzantine restorations in brick. 
The ruins of the raised parts, particularly 
of the bridges of Paspala and Moria, are 
tlie most important on the island. The 
chief bridge, that of Moria, is 404 ft. long, 
and still stands to the height of 85 ft. It 
consisted of seventeen arches, of which 
those in the deej? middle of the valley 
were buttressed by two intermediate tiers 
of arches. The total length of the aque- 
duct is about fifteen miles, and it is esti- 
mated that it could deliver 137,000 cubic 
metres of water in twenty-four hours. 

Theatre. The cavea, 351 ft. in dia- 
meter, was in great part excavated from 
the hillside above the town, but toward 
the front supported on artificial substruc- 
tions. It was surrounded at the back by 
a boundary-wall of marble and had a 
diazoma, to which there was an entrance 
at each side by a passage beneath the 
seats. The seats were of marble, with a 
fine moulding at the edge and much hol- 
lowed in front ; they were well jointed 
and secured together by ^ clamps. An 
inscribed throne in the court of the chief 
church proves that there were seats of 
honor. The date is uncertain. The 
cavea is in a ruinous state, and there is 
no trace of a stage-structure. 
NAPLES (Napoli), Italy. 

Akch of Alfonso, one of the richest 
and most elaborate of the commemorative 
monuments of the Renaissance. It was 
built in 1470, to celebrate the entry of 
Alfonso of Aragon. Its architect is doubt- 
ful, but it has been assigned both to 
Pietro di Martino, of Milan, and to Giu- 
liano da Maiano, of Florence. It is built of 
white marble, and occupies the Avhole 
height of the wall between two of the 
massive round towers of the Castello 



340 



FLORENCE-CATHEDRAL AND CAMPANILE 



NAPLES 



Nuovo. It is in four 
stages, through three of 
which rise continued 
side buttresses flanking 
a curtain -wall. The 
first and third stories 
consist each of an order 
of columns, Corinthian 
in tlie first story and 
Composite in the tliird, 
coupled upon the but- 
tresses at the angles 
with decorated entabla- 
tures, of which tlie 
friezes are charged with 
inscriptions and bas- 
reliefs, and enclosing in 
each story an arch 
springhig from deco- 
rated pilasters and with 
sculptured figures in the spandrels. Be- 
tween these two orders is an intermediate 
stage with a continuous relief represent- 
ing a triumphal procession, and above the 
upper order a high attic consisting of a 
range of four decorated semicircular 
niches between pilasters, enclosing statues 
of the cardinal virtues. A segmental 
pediment with figures in relief and 
crowned by standing statues, terminates 
this remarkably elegant and original com- 
position. The sculptors Isaia da Pisa and 
Silvestro dell' Aquila are said to have 
worked upon it. {See FUj. l^J/..) 

The Cathedral of St. Januarius or S. 
Gennaro consists of two distinct portions, 
of which the older cathedral, called the 
Basilica of Sta. Eestituta, opening from 
the south aisle of the newer cathedral and 
at right angles to it, is reputed to have 
been founded by Constantine and to oc- 
cupy the site of a Roman temple of Apol- 
lo ; but the oldest parts probably belong 
to the church of the vi cent. , rebuilt in 
the XII. Its plan comprises a nave which 
ends in a flat apse, and is separated from 
the aisles by arcades of pointed arches 
springing from six Corinthian columns. 




taken from Roman temples. The aisles 
are each in seven groined bays flanked by 
a line of square chapels. The ceiling of 
the nave is painted by Luca Giordano. 
The old baptistery, now the Chapel of S. 
Giovanni in Fonte, opens from the end 
of the right aisle, and is remarkable for 
the number of early mosaics and wall 
paintings which it contains. The new 
catliedral, begun in 1278, is a long basilica 
witli a nave and aisles abutting against a 
great transept, and separated by arcades of 
pointed arches springing from grouped 
piers. The aisles are groined in square 
bays, the nave covered Avith a wooden 
ceiling. The arches are continued by 
single broader arches across the rectangu- 
lar transeiit, from the centre of which 
opens a polygonal vaulted apse. The 
nave ceiling and the clerestory wall are 
covered with frescoes, those of the clere- 
story by Luca Giordano. A line of rectan- 
gular chapels opens from cacli aisle, and 
from the middle of the south aisle the 
large and richly decorated chapel in the 
form of a Greek cross, built in the first 
half of the xvii cent., and dedicated to 
St. Januarius, the central space covered 



241 



NAPLES 



by a round dome, and tlie vault of the 
roof painted with figure subjects from tlie 
life of the saint by Domenichino and 
Spagnuoletto. Under the choir is the 
sumptuous crypt or confessio of S. Gen- 
naro, containing the body of the saint. 
The front, dating from 1407, is in three 
vertical divisions, each with a square 
doorway covered by a gable, the central 
one with a rich portal dating from 1407, 
and a two-light pointed window above. 
Each division ends in a gable, and the 
front is flanked by two projecting square 
towers, enclosing staircases. {See Fig. 
125.) 

The Palazzo Eeale (Royal Palace) 
Avas built about 1600 from the designs of 
Domenico Fontaua. It is of great extent, 
with a west front nearly 450 ft. long, in 
three stories, with projecting wings and 
central pavilion faced with three orders of 
pilasters, Doric, Ionic, and Corinthian. 
The first story was originally an open ar- 
caded loggia, of which the arches are now 
mostly filled up. The great interior 
court is surrounded by two stories of 
finely proportioned arcades. A monu- 
mental staircase, added in 1651, and open- 
ing from the court, conducts to the state 
apartments, which include a splendid 
ball-room, a theatre, and a chapel. 

Pausilypum, the villa of Vedius Pol- 
lio of the time of Augustus, extending 
down the slope of the promontory of 
Posilipo and covering a considerable area. 
The massive ruins of the foundations are 
visible in the sea for a distance beyond 
the existing shore-line. The myrtle-clad 
remains are very extensive and pict- 
uresque, but are confused. In one place, 
a building rises to the height of three 
stories, the lowest of which appears to 
have formed part of a bath. Close by, a 
theatre has recently been excavated with 
other buildings; it has seventeen tiers of 
seats, with a corridor above and a tribune 
at each angle of the orchestra. Nothing 
survives of the stage-structure, which was 



probably of wood. Another building, 
square, with ornamental pilasters and semi- 
circular exedras, on the hillside, seems 
to have been a gymnasium. An odeum, 
close by, is small but remarkably perfect. 
It has twelve tiers of seats, a semicircular 
stage-structure, a columned recess, ap- 
parently for musicians, in the orchestra, 
and a hall above the middle of the cavea, 
with a throne separate from the seats, be- 
lieved to have been for the emperor. The 
ornament of this odeum was very rich, it 
being encrusted throughout with precious 
marbles. Among the other buildings are 
a basilica, a so-called hemicycle, porticoes, 
and nymphaea. It is uncertain whether 
the theatre and the buildings subsequently 
enumerated belonged to the villa of Pol- 
lio or to the villa of LucuUus. 

S. Domenico Maggioke, a Gothic 
church which in 1285 replaced an older 
one, but was successively modernized in 
the XV, XVII, and xviii cents., and last 
in 1850-53. Its plan is a rectangle about 
108 ft. wide and nearly 250 ft. long, with 
a nave some 50 ft. wide covered by a flat 
ceiling, and an arcade of seven pointed 
arches on each side on thin grouped piers 
separating it from the aisles, which are 
in groined bays, with square groined 
chapels opening from them. The tran- 
sept is as broad as the nave and is divided 
by single high 23ointed arches into three 
bays, of which the central one at the cross- 
ing is groined, the others being covered 
by pointed barrel - vaults. Above the 
main arcades, which are very high and 
acutely pointed, is a rather high wall con- 
taining two-light traceried clerestory win- 
dows, with flanking pinnacles and panel- 
work between. The octagonal choir, 
formerly square-ended, is vaulted, and 
flanked by two chapels on each side. 
Stairs from the angles of the choir lead to 
a small crypt with Doric half columns on 
the walls, supporting a bracketed cornice. 
The church is decorated with much rich- 
ness and contains many notable monu- 



242 



NAPLES 



ments. The front has an open arcaded 
porch in three bays and under it a Nor- 
man - looking doorway. These portions 
are probably altered survivals of the older 
church. The transitional porch at the 
entrance of the east transept dates from 
the XV century. 

S. FiLiPPO Nbri, known also as the 
Gerolamini, was built between the years 
1592 and 1619 by Dionisio di Bartolom- 
meo for the saint whose name it bears. 



and is richly decorated with marbles and 
statues. The great monastery adjacent 
to the church contains a fine library. 

S. Martin^o. This secularized Car- 
thusian convent has been turned into a 
museum, under the care of the Italian 
government. It is reputed to date from 
the end of the vi cent., but was rebuilt 
for the Carthusians in 1325, and entirely 
remodelled in the xvii century. The 
church, which is noted for its splendid in- 




Naples, S. Martino, Cloister. 



Its plan is a Latin cross about 120 ft. 
wide and 2G0 ft. long, its nave and aisles 
divided by lines of granite columns, 
carrying arches, six on each side, which 
support an entablature, with a fiat ceiling 
exuberantly carved and gilded covering 
the nave. The aisles are divided by 
arches into square bays covered by low 
domes, and a rectangular chapel opens 
from each bay. The rectangular transept 
has tlie breadth of the nave and is divided 
into five bays, with a dome at the crossing 
from which opens a shallow rcctangiilar 
tribune. The fagade, from the designs of 
Lazzari, is divided into five compartments. 



terior, was l)uilt over in 1()57 by Fonsaga, 
on its old lines, and consists of a nave of 
three bays, without aisles or transept, and 
a deep square-ended chancel, wliich served 
as choir. It is lined with an order of Com- 
posite pilasters, facing heavy piers, under 
which the arcades open into three chapels 
each side the nave, and which is continued 
round the choir. Tlie order carries a 
groined pointed vault, M'hose lunettes are 
occupied by the large square-headed win- 
dows of the clerestory. The architectural 
detail is rich and florid, baroco in stvle, 
the walls and floor are lavishly enriched 
witli colored marbles, and the ceiling with 



343 



NARNI 



painting. The cloister, encompassing the 
old burial-ground of the monks, is very 
large, and is surrounded by a light and 
graceful arcade on slender Doric columns, 
over which the upper stoiy, set back to 
the rear wall of the galleries, is pierced 
with pedimented windows in the intervals 
of an order of pilasters. {See Fig. 126.) 

S. Paolo Maggiore is a baroco 
church designed by the monk Francesco 
Grimaldi in 1590. It is cruciform and 
flat-ceiled, with nave and aisles divided by 
arches alternately large and small, vinder a 
great order of Corinthian pilasters, and is 
richly decorated and carved with frescoes. 
It stands on the foundations of a temple 
of Castor and Pollux ; two of the Co- 
rintliian columns and a fragment of the 
architrave are incorporated into the unin- 
teresting front across which the order is 
continued in pilasters. 
NAENI (anc. Narnia), Umbria, Italy. 

Bridge carrying the Flaminian Way 
over the ravine of the Nar, built by 
Augustus, in high rejDute in antiquity for 
its boldness and height. It consisted of 
three arches, built of large blocks of 
white marble. The arch on the left bank 
is still intact, and is 60 ft. high ; the tAvo 
other arches have fallen, though their 
massive piers remain and form an impos- 
ing ruin. The piers are placed about 30 
ft. apart. 

The Cathedral is a building of 
marked peculiarities, built at various 
periods. At present it has four aisles 
and a line of chapels, a short transept 
and a very wide seven-sided apse. The 
main body of the church was originally a 
three - aisled basilica built in pre - Ro- 
manesque period, whose nine bays have 
tlie same peculiar segmental arches as Sta. 
Maria in Pensole {q. v.). These arches are 
supported on monoliths with early capi- 
tals. The original wooden roof made way, 
at an uncertain period, for groined cross 
vaults. The apse and the vault in front 
of it are a bold construction of the xiii 



cent, the immense cross-vault over the 
intersection has a span of about 60 ft., the 
apse, about 40 ft. deep, is vaulted on eight 
converging ribs. Under the choir is a 
crypt of the same date but now remodell- 
ed. The second choir or chapel on the 
left is also of the xiii cent., while several 
other chapels date from the Renaissance. 
The earliest part of all is the primitive 
Chapel of S. Cassius with its crypt, whose 
origin is in the iv or v century. The 
bell-tower is a brick construction of the 
XII cent., resembling those of Rome. The 
portico, a fine work of the Renaissance, 
has an inscription of 1491. This is prob- 
ably the date of the restoration of the en- 
tire church and the addition of the vaults. 
Within the church is a fine series of 
Renaissance sculptured monuments of the 
XV and xvi centuries. [A. L. F. Jr.] 

S. GiROLAMO is a good example of the 
Romano-Umbrian Gothic of about 1300. 
It is cruciform in plan, built of stone, 
and has a square aj^se without side chap- 
els. Its nave consists of three square 
compartments measuring 32 ft., with 
cross-vaults and pointed transverse arches 
ribbed like examples at Perugia and 
Rieti. The groups of colonettes sustain- 
ing them are simple and elegant. In 
each bay is a one-light pointed window ; 
there is an oculus in the apse and the 
faQade had a rose-window, now destroyed. 
[A. L. F., Jr.] 

Sta. Maria in Pensole is peculiar for 
the form of its arches. It is a simple 
basilica with an open porch. The three 
arches of its porch and the four of its 
nave are so flat as to be but a small seg- 
ment of a circle. It is difficult to assign a 
date to the church. There is an inscrip- 
tion in the porch dated 1175 ; but an in- 
scription of the v cent, was found in the 
crypt. [A. L. F., Jr.] 
NAZARETH, Palestine. 

Church of the Annunciation, a 
small and simple church enclosed in the 
Latin monastery and built in the xvii- 



244 



NEANDRIA 



XVIII cents, over the grotto in which, ac- 
cording to the tradition of tlie Latin 
churcli, was the scene of the Annunciation. 
The church is approximately 50 ft. by 70 
ft., and is divided into 
bays by four heavy 
square piers^ and arcli- 
es, transverse and lon- 
gitudinal, springing 
from them, which car- 
ry low domes resting 
on pendentives. The 
spacious choir occu- 
jiied at service by the 
monks is raised high 
above the nave, and 
reached by a double 
fliglit of steps with an 
arcli between. The 
architecture is plain 
and bald, the richness 
of the interior being 
due to its hangings. 
Between the ascending 
steps a descending 
flight leads to the crypt 
or grotto, Avhich con- 
sists of three parts: — a vaulted narthex ; 
then the chapel of the Annunciation prop- 
er, where Mary was met by the Angel 
Gabriel ; then an apse covered by a semi- 
dome, the Cliapel of St. Joseph — and be- 
hind them all a bare cavern in the rock. 
The grotto is reputed to be the house of 
St. Joseph. A great basilica built here 
in the early days of the churcli is re- 
peatedly mentioned by pilgrims and early 
writers. It survived to the time of the 
Crusades, but was destroyed by the Turks 
in 12G3. The present church, begun by 
the Francisans in 1G20, was finished as it 
now stands in 1730. (See Fig. 127.) 
NEANDRIA (Mt. Cliigri), Asia Minor. 

The FouTiFicATiONs are of hewn ma- 
sonry, partly polygonal and partly squared, 
of different dates before the iv century 
li.c. The plan is an irregular rlu:)m- 
boid. The walls are in good preservation 



throughout the circuit of two miles, and 
are among the finest military remains of 
Asia Minor. The chief gates at the N.E. 
and the south are flanked by square towers. 




^ — Nazareth. Church of the Annunciation. 

The Temple is of importance as giving 
definite knoAvledge of a new type. The 
foundation, of somewhat rough masonry, 
measures 42 ft. by 84 ft., the cella (in- 
terior) 2G| ft. by 05 ft. It is thought 
that it was not peripteral, but that it had 
perhaps a widely overhanging roof. The 
cella was divided into two aisles by a 
central range of seven columns. Tlie 
shafts were smooth, without base, taper- 
ing much toward the top. The capitals 
were of proto- Ionic type, wide -spread- 
ing volutes originating in vertical bands, 
but with the addition of a necking formed 
of two leaf-mouldings. Mr. Koldewey 
holds that this type of capital is not 
proto-Ionic, but a type heretofore un- 
recognized which he calls ^Eolic. Access 
to the cella was by a door 4 ft. wide in 
the west end. The two-aisled arrange- 
ment is jiaralleled in the so-called Basilica 



245 



NEMEA 



at Paestum (c;/". Locri). Such double tem- 
ples may have been less uncommon in 
Greek antiquity than has been believed. 
The face of the terra-cotta cyma was or- 
namented with animals in relief, and the 
antefixes with the head and shoulders of 
an animal of the cat or fox tribe. In 
date the structure can be assigned to the 
VII century B.C. 
NEMEA, Argolis, Greece. 

Temple of the Nemean Zeus (Jupi- 
ter), described by Pausanias as a notable 
building, notwithstanding that already the 
roof had fallen in and the statue disap- 
peared. The temple, which stood in a 
grove of cypresses, was a Doric hexastyle 
peripteros, of which three columns are 
still standing. Two of these columns, 
between antse, in the pronaos, are 4 ft. 
7 in. in diameter at the base, and still sup- 
port the architrave. The surviving per- 
istyle column is 5 ft. 3 in. in diameter at 
the base and about 34 ft. high. The 
Avidth of the stylobate in front was about 
65 ft. The metopes were not sculptured 
and were cut on the same block with the 
trigiyphs. The length of the temple is 
reckoned at something over 150 ft. The 
columns have twenty channels and are 
coated with a thin layer of stucco. They 
are to be noted as among the most slender 
examples of the Greek Doric. 
NEPI, Italy. 

The Abbey Church of S. Elia, just 
outside Nepi, is a simple three-aisled ba- 
silica built of coarse-grained sandstone and 
dates probably from the xi century. It is 
interesting as a connecting link between 
the early Christian and mediaeval styles, 
and is one of the few remaining monu- 
ments of this period in the northern part 
of the Koman province. The nave is 
divided from the aisles on each side by 
six columns. The measurements are : 
length, nearly 112 ft., of which the nave 
measures about 80 ft.; the transept, 24 
ft.; and the apse, 8 ft. The width of 
the nave is 26 ft. and of the side-aisles. 



14 ft. The fa9ade is simple and follows 
the lines of the roofs of nave and aisles. 
In the middle of the gable is an oculus ; 
below are three doorways with sculptures, 
which form the only decoration of the 
fa9ade. Toward the middle of this cen- 
tury the tower on the right fell and 
ruined one side of the church, which was 
rebuilt in 1856 with the substitution of a 
few columns. The round-headed windows 
are small and the apse is shallow. The 
interior is remarkably well proportioned 
and light. The round arches, which 
are recessed and rather loAv^^st on fine 
monolithic columns, most of which are 
ancient ; some of the foliated capitals are 
also classic, others mediaeval imitations. 
A low triumjjhal arch separates the nave 
from the sanctuary, resting on columns 
engaged in a pier. Under the upper part 
of the church is a crypt, reached by a 
staircase in the right aisle. The whole 
interior is covered with wooden roofs. A 
great part of the interest with which the 
church is regarded is due to its internal 
decoration and furniture, belonging largely 
to the period of the foundation of the 
church. The walls of the aj)se and tran- 
sept were covered with frescoes in the xi 
century. They form a connecting link be- 
tween the Eoman mosaics of the vi to ix 
cents, and the Italian works of the xiii cen- 
tury. On the piers of the transept and on 
the walls of the right aisle are frescoes of 
the xiii, XIV, and xv cents., the figures 
being in many cases large and well pre- 
served. The mosaic pavement is of the xi 
cent., and so are apparently the ciborium 
over the high altar, the parapet of the choir 
and the pulpit, all of marble with archi- 
tectural decoration, and in the case of the 
pulpit, with patterns in low relief. An 
inscription around the marble font reads: 
A?ino Dni MCCXXII hoc opus Dns 
Wido Presul ortanus tempore Domni. 
Wnielmi aihatis fieri fecit. There are 
signs that the site was occupied before the 
building of this church. [A. L. F. Jr.] 



24() 



NIC^A 



miCMA (Izuik), Asia Minor. 

Ancient Ramparts, remarkably well 
preserved, with their imposing towers and 
gates. The area enclosed is abont twelve 
miles long and four wide. There are two 
battlemented walls, separated by an interval 
of a little over 50 ft. The inner wall has 
one hundred and eight lofty semicircular 
towers ; the outer, one hundred and 
thirty lower towers, so disposed as to alter- 
nate with the towers of the inner wall. 
There are three great gates out of the 
original four, flanked by massive towers 
of brick, besides two small gates. One of 
the gates, built of marble in 120 A. i). by 
Hadrian, has the form of a triumphal 
arch. Inside the Constantinople Gate is 
a third wall Avith three gates, opening on 
the city, forming a sort of citadel. The 
Avails are from 15 to 20 ft. tliiek and are 
still from 30 ft. to 40 ft. high, retaining 
in places their battlements. 

The Green Mosque is a Seljukian 
mosque dating from the xiv cent., and 
named the Green, from its minaret faced 
with green tiles. In front is a large pro- 
jecting marble porch on three pointed 
arches suniiounted by a dome ; and the 
principal division of the nuisque itself is 
also covered by a dome. Over the en- 
trance an inscription gives the name of 
the founder Khayr-Eildin, the (irand 
Vizier of ^[unid J, and the date T80, 
that is 1378 a.d. An arcade on columns 
surrounds the building. 

Theatre, in tlu^ southAvestern part of 
tlie city, facing flic nortli. It is probably 
tlio same l)uilding nirntioncd l)y I'liny 
in his letter to Trajan, as having cost, 
thougli still unfinished, ten million ses- 
terces ($387,500). It is one of the few 
theatres in Asia not built against a hill- 
side, its caA^ea being entirely sustained on 
vaulted substructions. The greater diam- 
eter is 200 ft. Tlie masonry is of large 
blocks of limestone laid Avithout cement. 
The structure is very ruinous,and is in great 
part buried under accumulations of soil. 



NICOSIA, Cyprus. 

St. Oathehine, uoav a mosque, con- 
sists of a single nave, about GO ft. long 
and 27 ft. wide, in three A^aulted bays, of 
Avhicli the eastern merges into a semi- 
octagonal apse concealed on the outside 
by a straight Avail. There are lateral 
buttresses in the form of half -octagon 
turrets, and a rose AvindoAv in the front : 
and the Turks have built a high minaret 
on the S. W. corner. 

St. Nicholas, now used as a gov- 
ernment storehouse, is a barrel -vaulted 
church, about 130 ft. long, Avith three 
eastern apses, and a central dome on an 
octagonal tower. It is apparently a little 
later than the old cathedral, Avhich stands 
just north of it. 

St. Sophia, the old cathedral, is a 
large and handsome church, jDerhaps of 




Fig. 128.— Nicosia, St. Sophia. 

the XIII century. It is three aisled, about 
215 ft. long, and 80 ft. across the front. 
The naA'e, of 25 ft. span, and the aisles 



347 



NlKOLEIA 



are vaulted in six ba3^s, and end in an 
apsidal clioir, round within and a lialf 
decagon without, encircled by the aisle. 
Flanking the eastern part, like transej)ts^ 
are two chapels with eastern ajises. At 
the front, which is later than the rest, are 
the stumps of two great corner towers, 
and between them a vaulted porch, which 
may be an addition, for behind the ruined 
upper story appears the great traceried 
window at the end of the nave. As in the 
cathedral at Famagusta, the vaults were 
the only covering of the church, and no 
roofs were built over them. The kings 
of Cyprus were crowned here, and some 
mediaeval tombs remain, disfigured by the 
Turks, who have used the church for a 
mosque, and built two tall minarets at its 
sides. {See Fig. 138.) 
NIKOLEIA, Phrygia, Asia Minor. 

EocK-TOMB ascribed to the beginning 
of the VII cent. B.C., and important, if 
this date is correct, as one of the earliest 
exemplars of the Doric style. The faQade, 
in ant is, has widely spaced, slender, un- 
channeled columns, tapering but little, 
with three annulets beneath the capital, 
and the high echinus forming an angle of 
about forty-five degrees with the shaft. 
The triglyphs are low and project beyond 
the plane of the architrave ; there are two 
in the spaces between antse and columns, 
and four in the intercolumniations. The 
cornice is slight and without mutules, the 
pediment low and with a high cyma. 
Many of these details seem to indicate a 
late date instead of an early one. 
NIMKOUD-KALESSI. See Aego. 
NOCEEA (dei Pagani), Italy. 

Sta. Maria Maggioee, also called 
La Kotonda, a circular church evidently 
at first a baptistery, but differing in 
many particulars from the usual type of 
such structures in Italy. It consists of a 
central hall about 38 ft. in diameter with 
a surrounding aisle 16 ft. wide, from which 
it is separated by a ring of coupled Corin- 
thian columns, some of which are antique. 



bearing narrow round arches. The cen- 
tral space is covered by a dome of peculiar 
form, its section a slightly cusped arch, 
the lower part circular and the upper el- 
liptical. The lower portion is built with 
great massiveness, as a foundation and 
buttress for the upper portion, which is a 
thin shell. The dome springs directly 
from the capitals of the columns ; its 
upper portion is pierced by eight windows, 
and its crown is about 45 ft. above the 
pavement. The surrounding aisle is 
divided by strong transverse arches into 
fifteen bays, corresponding with the arches 
under the dome, and roofed by flat seg- 
mental vaults. Opposite one of these 
bays, double the width of the others, a 
semicircular apse projects from the outer 
wall of the aisle and is covered by a semi- 
dome. In the centre of the building is 
a circular baptismal basin of unusual 
size, about 18 ft. in diameter, surrounded 
by a low wall, of which the outer face is 
octagonal and which formed the stylo- 
bate for eight columns, of which only 
three are now standing. These columns 
doubtless supported a canopy covering 
the basin. The exterior of the baptistery, 
nearly concealed by adjacent buildings, is 
extremely simple. Above the aisle roof 
rises a low wall carried uj? on the lower 
masonry of the dome to support the low- 
pitched wooden roof which covers it. 
This wall is pierced with small windows 
communicating Avith those in the dome it- 
self. This building has been thought to 
be the earliest instance in which the 
masonry of a dome or vault was covered 
by a wooden roof. There is no record of 
the date of this building, but Mothes as- 
signs it to the first half of the v cent., 
Hubsch to the beginning of the vi. 
NOLA, Italy. 

The Cathedral of Sta. Maria is the 
rebuilding of an older church, and dates 
in its present form from the end of the 
XIV century. It is a basilica with nave 100 
ft. long and 60 ft. high, separated from 



248 



NOECHIA 



the aisles by arcades and opening into a 
transept with three eastern apses. The 
clerestory and aisle walls are jiierced with 
numerous narrow windows. The front 
has three doorways, over the middle one 
of which are two arched windows and a 
round window. Under the church is a 
crypt dedicated to S. Felix, with three 
rows of columns. The church had fallen 
into ruins, hut has been in late years re- 
stored by the Government. 
NORCHIA (anc. Orcle ?), Italy. 

Etruscan Necropolis, exhibiting a 
number of tombs of ordinary types ranged 
in an impressive rock-auiphitlieatre, and 
two which, except for tlie monuments at 
Sorana, are without parallel in Etruria. 
They consist of imitations of temjile- 
fronts, with columns, entablatures, and 
pediments filled with sculpture. The 
friezes ape the Doric, and the entire char- 
acter of the work shows attentive study 
of the Greek. The pediment -sculptures 
represents vigorous combats of warriors, 
fully armed. The column-shafts are now 
knocked away. The interior chambers of 
these tombs are small and plain almost to 
rudeness. Dennis dates them early in tlie 
IV century B.C. 
NO VARA, Italy. 

The Baptistery is an octagonal build- 
ing standing at the west end of the atrium, 
older tlian the cathedral, which it faces, 
perhaps even as old as the v century. It 
consists of a central octagon about 35 ft. 
in diameter, Avith ancient Corinthian col- 
umns in the angles on high plintlis, four 
of them with fluted shafts and all bearing 
stilt - blocks, from which spring round 
arches, forming the openings of recesses 
or niches, alternately square and semi- 
circular, and covered with barrel-vaults. 
On the arches is carried up the high clere- 
story wall, with a single window in each 
face above the roof of the surrouiuling 
niches. The wall supports an octagonal 
dome, crowned with a small lantern with 
windows. A larjie Roman vase in the 



centre of the floor was used as the baptis- 
mal font. The exterior is quite plain, of 
brick, the lower portion without other 
opening than the doorway from the atrium. 
The upper portion has small angle-shafts, 
and an arched corbel-table over the clere- 
story windows, between which and the cor- 
nice are three small arches in each face, 
opening into the space between the dome 
and its wooden roof ; the precursor of the 
arcaded eaves-gallery so common in the 
later Lombard buildings. 

The Cathedral is an interesting and 
important Lombard church, which has, 
however, lieen greatly injured by restora- 
tions, the latest of which, in 1862, destroyed 
many of its most characteristic features. 
It is a five-aisled church, about 110 ft. in 
total width, approached until recently 
through an atrium or fore-court, with low 
arcades on the sides, from the westerly side 
of which opened the baptistery. The 
atrium has been sacrificed to make room 
for a modern Corintliian portico. Its 
eastern side was occupied by the narthex, 
also now transformed, in two stories di- 
vided into seven compartments, those of 
tlie lower story filled each with a round 
arch, three of them occupied by doorways, 
while those of the upper story are sub- 
divided each into three blind arches, Avith 
a small window in the central arch. The 
narthex is vaulted in square bays, and its 
upper story forms a gallery opening by 
broad arches into the nave. It is covered 
by a lean-to roof, out of Avliich rises in the 
centre the gable of the nave, and at the 
ends two square campanili. The whole 
arrangement much resembles that of S. 
Ambrogio at Milan. The interior is i^e- 
culiar in many respects. The nave is 
about 35 ft. wide and 95 ft. long, and is 
divided into three bays, of which the first 
and third are square and comprise each 
three bays of the aisles, the middle one, 
Avhich is shorter, comprising two. All 
are vaulted, but the vaulting of the nave 
is thought to replace a flat wooden ceiling. 



249 



OLYMPIA 



From the compound piers dividing the 
nave bays, strong transverse arches are 
carried across the nave. Intermediate 
columns, two to each square bay and one 
to the shorter bay, correspond to the bays 
of the aisles. Of the double aisles on 
each side, the inner have a broad vaulted 
upper gallery, with arches corresponding 
to those below ; the outer are divided into 
chapels. So far the original construction 
is substantially unchanged. But the east- 
ern portion of the church has been much 
altered. The transept does not project 
beyond the walls of the outer aisles. The 
crossing is covered by an octagonal dome, 
the arms by smaller domes of an elliptical 
plan. The transept arms are closed from 
the aisles by a solid wall, pierced with a 
small doorway on each side. The choir, 
as long as the nave, is in three divisions, 
a square bay covei'ed by an elliptical dome 
like those of the transept, a second 
square bay with a four-part vault, and a 
deep round apse with a ribbed semi-dome. 
A square campanile stands detached in 
the N. E. angle between the transept and 
choir. Portions of the present church 
date from the early part of the viii cent. ; 
Mothes gives three dates, 726, 1020, and 
1124, as the important periods of its con- 
struction. 

S. Gaudenzio is a church of unusual 
plan built near 1580 by Pellegrino Tibal- 
di. It is a Latin cross about 270 ft. long 
and 150 ft. across the transept, whose pro- 
jection is made conspicuous by the ab- 
sence of aisles, and has a long apsidal 
choir. The rather narrow fa9ade is in 
two stories of grouped pilasters, with 
curved flanking buttresses, a pediment 
above, and a porch on relieved columns 
over the door. The church stands free, 
and the pilasters are continued in couples 
along the sides and about the long arm of 
the choir, with niches between them. In 
the angle between the north transept and 
choir is a fine bell-tower, square below, 
octagonal above, ending in a baroco cupo- 



la. The original dome has been replaced 
by a high new one on a drum surrounded 
by Corinthian columns, not only dwarf- 
ing the bell-tower, but by its weight en- 
dangering the piers that support it. The 
interior is lined with pilasters in pairs, the 
nave alone being bordered with shallow 
chai^els, and is barrel-vaulted throughout. 
OLYMPIA, Elis, Greece. 

The Altis (sacred grove), or sanctuary 
of Zeus Olympios (Olympian Jove), the 
scene of the Olympic games, is in a plain 
between the rivers Alpheus and Cladeus, 
and an irregular hill called Mt. Kronios. 
The sanctuary consisted of a sacred enclos- 
ure, surrounded by a wall of blocks of Poros 
stone, containing several temples and many 
other splendid buildings, and adorned 
with groves, altars, and statues, and other 
outlying buildings. The Altis, which, 
tradition says, Avas laid out and enclosed 
with a wall by Hercules, had several en- 
trance-gates, the principal of which, the 
Pompic gate, was used for grand proces- 
sions. On the east side, without the wall, 
were the Stadium and the Hippodrome, 
the scene of the principal contests of the 
01ym]3ic games. After the Roman con- 
quest (14G B.C.) the festival was kept up 
with great splendor, and many of the most 
elaborate buildings at Olympia were due 
to the emperors. The games were con- 
tinued until 394 a.d., when an end was 
put to them by Theodosius I. He re- 
moved Phidias's great chryselephantine 
statue of Zeus to Constantinople, where it 
was burned in 475, and doubtless from 
his time the temples and other buildings 
gradually fell to decay. The Altis was 
an irregular quadrilateral enclosure, its 
two longest sides (east and west and north 
and south) extending about 680 feet. 
The Temple of Zeus stood S. E. of the 
middle, upon a terrace about 574 ft. by 
262 ft. On the north side, at the base 
of Mt. Kronios, was a higher terrace, 
reached by steps, on which stood the 
Exedra of Herodes Atticus and a row of 



350 



OLYMPIA 



treasuries. Pansanias notes only eleven, 
but remains of twelve have been found. 
The other buildings within the Altis were 
the Herseum or Temple of Hera, the Met- 
roon or Temple of the Mother of the 
Gods, the Pliilippeum, the Hippodam- 
euni, the Stoa of the Echo, the Leoni- 
dffium, the Prytaneum, the Bouleuterion, 



elliptical arc at the west end, a form 
hitherto deemed uu-Hellenic. The apse 
was cut off from the main chamber by a 
cross -wall with stout doors in it, and 
divided into two parts by an east and 
west wall. The total exterior length was 
100 ft., the breadth at the east end 43 ft. 
The side walls are curved slightly out- 




Fig. 129. — Olympia, Plan of Excavations. 



and the Pelopeum. The gre;it altar of 
Zeus, on which the jjriiK'ipal sacrilicos 
were made, stood north of the miildle of 
the Altis, half-way between tlie Metroon 
and the Temple of Zeus. {See Fig. 1^9.) 
Boi'LEUTEiuox (Council-house). Avith- 
in the Altis. It is the earliest known 
Greek house of assembly of a deliberative 
body and consisted of a group of buildings 
facing the east. The first, or southern- 
most one, probably of the vi cent. ]i.c.. 
was in plan a double nave with an apse of 



ward. This is the only known example 
in early Hellenic architecture of a 
ground plan tending thus to an ellii^tical 
form. The interior Avas divided by a 
range of seven Doric columns, 8 ft. 8 in. 
from centre to centre. The entrance at 
the east end was formed by three Doric 
columns between two anta?, on a st3-lo- 
bate of two steps. The second, or north- 
ernmost building, of the v cent. B.C., 
was a double nave with semicircular apse, 
similar in plan to the soutli liuilding, but 



251 



OLYMPIA 



showing no curve in the side walls. Both 
these buildings appear to have had win- 
dows and wooden roofs. The third struct- 
ure, 46 ft. square, between the north and 
south Avings, has its east front on the 
same line. This third structure was 
probably roofless, forming an open court, 
presumably with a row of columns upon 
the open east side. A long portico ex- 
tended across the front of these three 
portions ; it had twenty-seven Ionic col- 
umns on the east front and three on each 
side, including the angle-columns. It is 
conjectured that the apses, particularly 
that of the south wing, were the official 
treasuries of the Olymj^ian Council. 

Byzaxtixe Chukch, west of the Al- 
tis, built uj)on ancient foundations prob- 
ably during the first half of the vi cent. , 
when severe earthquakes had destroyed 
the Olympian buildings. It has the form 
of a basilica, with a semicircular apse at 
the east and narthex at the Avest. The 
entrance is by a porch on the south side. 
The church proper, 60 ft. long, was di- 
vided into nave and aisles by two rows of 
five marble columns each, with composite 
capitals evidently taken from a Eoman 
building, and the east end of the nave cut 
off from the sanctuary by a marble screen ; 
a brick bench surrounded the interior of 
the apse. The narthex, or vestibule, 19 ft. 
by 35 ft., opens into the church by three 
doors. The ancient building, Avhich was 
replaced by this church, was of Poros stone, 
and is assumed to have been the studio of 
Phidias. It comprised a vestibule 33 ft. 
by 40 ft. and an inner apartment 60 ft. 
by 40 ft., the latter divided into aisles by 
two rows of four Doric columns each. It 
was about the size of the cella of the tem- 
ple of Zeus, and thus may have presented 
advantages as a studio for the elaboration 
of the great chryselephantine statue. 
The ancient masonry remains to a height 
of about 6 ft. The Byzantine floor has 
been removed and the ground plan of the 
Greek buildins: is thus revealed. 



ExEDKA OF Hekodes Atticus, built 
in the il cent. A.D., by Tiberius Claudius 
Herodes Atticus, the famous Greek rhet- 
orician. It was an open structure of 
brick, consisting of a terrace 102 ft. by 
18 ft., bounded by walls, with a semicir- 
cular apse behind it, whose outside radius 
was 31 ft., including the wall. At each end 
of the terrace stood a small open circular 
Corinthi£in temple of eight graceful col- 
umns, whose exterior diameter was 12 ft. 
6 in. Upon the terrace, between the two 
temples, was a water-basin into which a 
lion's head spouted water from each end 
of the wall of the apse. The water was 
supplied from a reservoir fed by an aque- 
duct, part of which is yet in working- 
order. The monument was dedicated by 
Herodes to Zeus in the name of his wife 
Eegilla, as may still be read on a marble 
bull that stood on the front wall of the 
basin. AVithin the apse, between two Co- 
rinthian pilasters, corresponding to great 
buttresses behind, were portrait-statues 
of the family of Herodes and of those of 
the emperors Antoninus Pius and Mar- 
cus Aurelius. 

The GymisTASium, used for exercise in 
leaping, running, and throwing the discus 
and javelin, was a large level quadrangle, 
surrounded on three sides, perhaps on all, 
by stoas or open halls. The east hall, 
both ends of which have been excavated, 
measures 690 ft. by 38 ft. ; the east side 
and the ends are closed by a wall, the west 
side has a range of Doric columns with an 
intercolumniation of 10 ft. from centre to 
centre. Another row of Doric columns 
through the middle divides the stoa into 
two long galleries. A second Doric stoa 
on the south side of the gymnasium ad- 
joining the pala?stra has been partly ex- 
cavated. It is not so wide as the east one, 
and has no central range of columns. 
The gymnasium probably dates from the 
early iii century B. c. The grand entrance 
or propylajum at the S. E. angle, between 
tlie east and the south halls, was of Corin- 



252 



OLYMPIA 



thian order with four columns on both 
east and west fronts. The two middle 
columns of each front form the extremi- 
ties of two rows, each of six columns and 
a central pier, wliich divide the gateway 
into three aisles — tlie middle one (main 
entrance) is 11 ft. wide. This building is 
ap2:)arently of somewhat later date than 
the porticoes of the gymnasium. Pausa- 
nias tells us that the open court was paved 
with stone for the exercises of the ath- 
letes, and that their lodgings were against 
the wall of tlie east stoa, opening toward 
the setting sun. 

The HER.T2UM, or Temple of Hera 
(Juno), was founded, according to tradi- 
tion, about 1100 B.C. Some existing re- 



shafts were monolithic. The entablature 
and roof-frame were probably to the last 
of Avood, since no stone fragments l^elong- 
ing to these members have been found ; 
and the temple had roof-covering, cyma, 
cresting, and remarkable acroteria of 
terra-cotta. The material Avas in general 
a fine-grained Poros stone, but a coarse 
shell-conglomerate was also used. The 
opisthodomos, closed like the cella with 
gratings, served as a treasury. In this 
temple was found during the German ex- 
cavation (18T4: to 1881), tlie famous statue, 
by Praxiteles, of Hermes bearing the in- 
fant Dionysos, mentioned by Pausanias, 
now in the new museum of Olympia. 
Tbe lIi:uoox (chapel of a hero), outside 



mains may date back to the viii century the Altis, about 48 ft. square, on the west 

B.C. It was Doric, hexastyle, peripteral, side, was a long hall, 10 ft. wide, access to 

with sixteen columns on the flanks and two which was afforded by a portico of three 

between antaj in pronaos and opisthodo- columns ; in the 8. E. angle was a room 

mos ; tlie ground plan is 1G4 ft. by 01 ft. 2'.) ft. by 15 ft., and north of it a circular 

G in. ; the cella, raised upon a special foun- room inscribed in a square, diameter 2(j ft., 

dation step, 133 ft. by 37 ft. The cella, with entrance from the hall and an altar 

whose walls above the foundation-course on the south side. There is some indica- 



were apparently built of brick, was divid- 
ed into three aisles by two rows of eight 
Doric columns eacli, the middle aisle 1)C- 
ing 12 ft. wide. These columns were put 
in in Eoman times ; originally pilasters 
stood out from the walls, forming on each 
side five chapel-like niches. The peri- 
style stood on a stylobate of two stops. 
The columns were 17 ft. 7 in. high, about 
10 ft. 8 in. apart, and varied in diameter 
from 3 ft. 3 in. base and 2 ft. 8 in. neck, 
to i ft. 2 in. base and 3 ft. neck. They 
differed also in the form of tlio capitals, 
which ranges from the most archaic type 
to the straight-lined profile of the Roman 
period. One column had oidy sixteen 
channels ; all tlie others had twenty. 
These anomalies are explained by the fact 
that the columns wore erected at widely 
different i)eriods to replace the original 
shafts of wood, of which Pausanias says 
that he saw one remaining still in the 
opisthodomos. Some of the older stone 



tion that the major part of this building 
was of wood. 

The IIiri'onuoMi-; is entirely destroyed 
by the floods of the Alphoios, and as yet 
unexcavated. It lay immediately south of 
the stadium. 

The Li:oxn).KrM was named from its 
founder, Leoniilas the Elian, and was 
converted in the first cent. a.d. into a 
residence for tho lioman magistrates of 
Achaia. It liad atrium, impluvium, batlis, 
and niches. It was probably the largest 
building in 01ymj)ia, except the great 
gymnasium, which has not as yet been 
entirely excavated. The Greek building, 
which dated from about the middle of the 
IV cent. H.C., consisted, like the Roman, 
of four wings surrounding a central court 
88 ft. 7 in. deep, the whole enclosed with- 
in an exterior portico of Ionic order built 
of Poros stone, except the ornamented 
and brilliantly painted gutter, which 
was of terra-cotta. The details are un- 



S63 



OLYMPIA 



refined. The dimensions were 266 ft. by 
244 ft. The height from the ground to 
the rim of the gutter was nearly 23 ft. 
The interior portico sui'rounding the 
court was Doric. Tlie outline of the 
echiuus was straight, and the abacus tliin 
and insignificant. To light the rooms 
beneath the portico the columns were 
made very slender, and widely spaced ; 
three triglyphs in tlie frieze corresponded 
to every jDair of columns. The entabla- 
ture of this portico retains in great fresh- 
ness its ancient coloring. The triglyphs 
and regulte were painted very dark blue ; 
the crowning members of the frieze, red. 
The sculptured mouldings of the cornice 
show a great variety of colors — red, blue, 
white, yellow, in various novel combina- 
tions. The Leonidfeum may have been de- 
signed as a gymnasium, or indeed for the 
use to which the Eomaus finally put it — 
as a lodging-place for strangers of dis- 
tinction. Some have sought to identify 
it with the Palace of Nero. 

Metroojst, or Temple of the Mother of 
the Gods, probably of the iii cent. B.C., 
roughly restored in Roman times and filled 
with statues of the emperors, and wholly 
pulled down in the v or vi cents, by the 
Byzantines, who used the stones to build 
fortifications. It was Doric, hexastyle, 
peripteral, with eleven columns on flanks 
and two between antse in pronaos and 
opisthodomos ; the ground-plan was 68 ft. 
by 35 ft. The columns were channelled, 
resting on a stylobate of three steps. 
Fragments of the frieze show pronounced 
traces of red and blue. The capitals were 
of peculiar profile. 

OcTAGON"AL Buildiis^Ct, so-called, with- 
out tlie Altis east of the Palace of Nero. 
The heart of the building was an octag- 
onal chamber, and was vaulted over. It 
was surrounded by rooms of various sizes 
and was evidently added to from time to 
time, especially toward the north and 
west, so that it came to encroach upon 
the Palace of Nero. A well-preserved 



architectural mosaic has been found in the 
northern part of the building. It dates 
from very late Eoman times, and probably 
served as lodgings for imperial officials. 

Palace op Nero, without the Altis, 
adjoining the Southeast Stoa, of which 
the materials were ruthlessly taken for its 
construction. It was a luxurious but 
hastily built Eoman villa, with vestibule, 
atrium, many chambers, baths, a spacious 
court surrounded by a portico and many 
dependencies. It is identified by an in- 
scription stamped iipon a lead water- 
pipe. 

The Palaestra (Wrestling-school), 
without the Altis and contiguous to the 
gymnasium, is of the end of the iv cent. 
B.C. or beginning of the iii. A quad- 
rangle 219 ft. square is enclosed by a wall 
which surrounds a series of halls and 
rooms of various sizes ; in the midst of 
these halls and rooms is a quadrangular 
court 136 ft. square surrounded by Doric 
porticoes 16 ft. 4 in. wide, with seventy-two 
Doric columns. There are ranges of Ionic 
columns between the chambers and the por- 
tico, some have only the upper half fluted, 
others, like the Doric columns of the cen- 
tral portico, are fluted on the exterior side 
only. Water ran 'in a narrow channel 
round four sides of the court and flowed 
out at the S. E. angle. The outer wall 
had a foundation of Poros stone, above 
which it was built of brick. The interior 
was mostly of a flne-grained Poros. The 
sculptured portions were carefully exe- 
cuted and covered with a coat of fine 
stucco. Abundant traces of color — red, 
blue and yellow — survive. Tlie entab- 
lature and roof were of wood throughout. 

Prytaneum (Town-hall), N.W. from 
the Altis, between the north gate and 
the Hera3um. The ground plan shows 
indications of two courts surrounded by 
porticoes and rooms of different sizes. 
On the south side there seems to have 
been a Doric portico 114 ft. long. In the 
main axis of the building, near the en- 



254 



OLYMPIA 



trance, was the natioual altar of Hestia 
(Vesta) in a small cliaj^el. The ruins were 
overturned and remodelled in Eoman 
times and later. The Prytaneum dated 
from the best ejioch of Olympia. Abun- 
dant remains of cooking and table utensils 
were found among the ruins. 

South Stoa, south of the Altis, a 
building of the Eoman j^eriod, intended 
for the use of spectators of the grand pro- 
cessions, or for jnirposes of lodging or busi- 
ness. It was a rectangle, about 2G2 ft. by 
42 ft. , closed on the north side by a wall, 
the roof supported on the other sides by 
a Doric order on a stylobate of three steps, 
with thirty-three columns in front and 
six on each flank, the interior divided 
longitudinally by a row of seventeen Co- 
rinthian columns of sandstone. The outer 
columns are of Poros stone and the steps, 
which have an elaborate profile, of white 
limestone. Most of the parts of this 
building lie where they fell, so that it 
could easily be restored. 

Southeast Stoa, occupying the S. E. 
corner of the Altis. Its front lay a little 
l)ack of the line of that of the Echo Stoa, 
built during the same Macedonian \)v- 
riod. Tlu' Southeast Stoa was of Doric 
order, M'ilh nineteen columns on the 
front and eiglit on botli nortli and south 
sides, and enclosed four rooms, tlie east 
side l)eing closed by a jtlain wali. Tlie 
cornice lias the same ornament as tliat of 
tlie Echo Stoa. The material is Poros 
stone, the columns and (.■ntalilaturc were 
coated with fine stucco. 

Southwest Buildinc;, without the 
Altis. A quadrangle 203 ft. by 2-41 ft., 
■with one hundred and thirty-eight exte- 
rior Ionic columns (thirty-seven on east 
and west, thirty-four on north and south), 
forming a continuous portico, 18 ft. wide, 
about a series of halls and rooms of vari- 
ous sizes ; within these was a second por- 
tico of about the same width, with twelve 
Doric columns on each side, surrounding 
an inner court Ui ft. square. This court 



was divided into geometrical flower-beds 
and water - basins, and was doubtless 
adorned with statues. Water, introduced 
in pipes on the north and east sides, flowed 
out through a conduit on the south side. 
The building shows two architectural pe- 
riods, the original Greek, of the iv cent. 
B.C., and a Eoman I'earrangement. 

Stoa of the Echo, called also Stoa 
Poikile (painted porch), doubtless from 
paintings on its inner Avail. The building 
was of the Macedonian period, erected on 
the site of an older structure. It was a 
rectangle, 320 ft. by 39 ft. ; the east side 
and ends closed by a wall, with forty-four 
columns in front and two antaj on a sty- 
lobate of three steps of Parian marble. 
The interior Avas divided into two long 
galleries by a range of columns through 
the centre. Pliny says it was known as 
the Ileptaphonon (seven-voiced) because 
it re-eclioed seven times. The roof was 
of wood ; and there are indications tliat 
it Avas in a single span, Avitli no support 
between tlie Avail aiul the exterior portico. 

Stadiuji, Avithout the Altis. Tlie 
loigth of the course, from starting to 
finishing lines, Avas G30 ft. fiJ, in. ; tircadtli 
at the west end, i)-! ft., at the east 
end, '.i; ft. Erom tlie measurement of 
its length Avas obtained tiie exact Olymjuc 
foot, whicli is just one six-hundredth of it, 
or ].().") ft. The surrounding seats Avere 
sustained by a retaining wall of I'di'os 
stone, except on the iu)rth side. Avhich 
rests upon Jit. Krouios. The judges' 
and athletes' entrance Avas a regularly 
vaulted passage - Avay through the Avest 
wall of the stadium, Avith a portico at the 
Avest entrance consisting of four Ionic 
columns, two outer ones engaged and con- 
nected Avitli the inner ones by a Ioav Avail. 

STunio OF Phidias. See Bi/zaii/iiic, 
Churrh. 

Te-AIPLE of Phi lip, or the Philippeum, 
probably erected by Alexander the Great, 
in memory of his father. Pliilip of Mace- 
don, and of the battle of Ch«ronea. It 



255 



OLYMPIA 



was Ionic, circular, with eighteen columns 
on a stylobate of four steps of Pentelic 
marble ; the whole diameter 50 ft. The 
columns, with twenty-four flutes, were of 
Poros stone ; the sculptured cornice and 
ceiling of the peripteros, of marble. The 
interior was decorated with twelve Corin- 
thian engaged semi-columns of Poros, and 
contained statues in gold and ivory of 
Philij), Alexander, Amyntas, Olympios, 
and Eurydice ; of several of these statues 
the pedestals have been found. The roof 
was probably covered with tiles of earth- 
enware, and was surmounted by a bronze 
poppy -head. This building was long 
considered one of the earliest circular 
Greek edifices surrounded by columns ; 
but the Tholos of Polycletus at Epidau- 
ros, recently explored by the Archaeologi- 
cal Society of Athens, is almost a century 
older. 

Temple of Zeus Olympios (the 
Olympian Jove), or Olympieum, within 
the Altis, upon a terrace. An ancient 
temple had stood on the site, but after the 
conquest of Pisa (572 B.C.) the Eleians 
devoted the spoils to the erection of a 
new and magnificent building. The ar- 
chitect was Libon ; and the temple was 
not finished until much more than a cen- 
tury afterward. It contained the famous 
chryselephantine statue of Zeus, the mas- 
terpiece of Phidias. It has been exca- 
vated partly by the French under Blouet, 
in 1831, completely by the Germans in 
1875-76, the remains being under four- 
teen feet of alluvium. The temple was 
Doric, hexastyle, peripteral, with thirteen 
columns on flanks and two between antas 
in prouaos and opisthodomos ; the ground- 
plan, 210 ft. by 90 ft., measured on u|)i3er 
step of stylobate ; the cella (exterior), 152 
ft. by 52^ ft. The cella is divided longi- 
tudinally into three aisles by two rows of 
seven columns each ; at the west end of 
the central aisle, 20 ft. wide, stood the 
statue of Zeus, 40 ft. high. The col- 
umns, on a stylobate of three steps, had a 



diameter at base of 7 ft. 4 in. and height 
of 34 ft. 3 in. ; intercolumniation, centre 
to centre, 17 ft. The height of the build- 
ing to the top of the entablature was 53 
ft., to apex of pediment, 66 ft., width of 
cella door, 15 ft. 9 in. Material, lime- 
stone overlaid with fine stucco ; roof, a 
wooden frame, covered with tiles, which, 
like the cornice, were of Parian marble. 
The floor of the pronaos contained a fine 
Greek mosaic representing Tritons. The 
pediments were filled with sculptures as- 
cribed respectively to Pseonius and Alca- 
menes. The acroteria were of bronze, a 
Victory upon the apex of the east front, 
and great tripods at the angles. 

The sculptures in the east pediment 
represented the contest for Hippodameia 
between Oenomaus and Pelops ; those in 
the west pediment the fight between the 
Centaurs and Lapiths. Zeus occupied 
the central place in the former scene, 
Apollo in the latter. The twelve metopes 
of the inner friezes over the pronaos and 
opisthodomos porticoes were carved with 
the twelve Labors of Hercules. 

Theocoleum, a group of buildings for 
the use of the Theokoloi or pi'iests Avho 
superintended the sacrifices immediately 
without the Altis. The original building 
was 61^ ft. square, with a central court of 
about 23 ft. square, surrounded by eight 
rooms. About the court was a Doric j)or- 
tico, with an entablature resembling the 
Ionic. This portion of the group dates 
probably from the iv cent. B.C., and rests 
doubtless upon older foundations. Later, 
the building was enlarged by the addition 
of three rooms on the east side ; and, 
finally, in Roman times, a much larger 
quadrangle was added on the east side, 
consisting of a number of rooms surround- 
ing a spacious portico with a large court 
in the middle. 

The Tkeasuries of various cities occu- 
pied a terrace on the northern edge of the 
Altis, which it overlooked, and beneath 
Mt. Kronios. Access to the terrace was 



S56 



ORCHOMENOS 



afforded by ste2:»s of Poros stone. Behind 
the terrace was a massive retaining-wall, 
to resist encroachment of earth M^ashed 
from above. The treasuries extended in 
a row from the exedra of Ilerodes At- 
ticus to the stadium. The remains of 
twelve have been recognized. Tliey were 
of widely different periods and architect- 
ure, but most were in the form of a small 
Doric cella in ant is. Many of them were 
adorned with very beautiful terra-cotta 
cornice- and roof-ornaments. In the 
treasuries were stored, by the founding 
cities, splendid gifts and votive offerings to 



of the south Altis wall, between the Bou- 
leuterion and the Southeast Stoa. It was 
of considerable size, with three arched 
openings, and doubtless presented exter- 
nally an appearance of magnificence. Like 
the Palace of Nero, however, it was very 
hastily, even temporarily, built of bases of 
statues, architectural fragments, and what- 
ever came first to hand. There is no 
doubt that it Avas constructed to form a 
fitting entrance to the sacred enclosure 
for Xero. 

0PCII0MEX08, Bceotia, Greece. 
Treasury of Minyas, so-called, con- 



Olympian Zeus. The Treasury of Uela, sidered even in classical times as a highly 
the most easterly of all, next to the sta- 
dium, was Doric, hexastyle, and prostyle. 
It is conjectured that the interior of the 
cella was surrounded on three sides by 
columns. Tlie stone cornice was en- 
crusted in the ancient Sicilian fashion 
with terra-cotta tiles, fastened with iron 
nails, and very elaborately and beautifully 
painted Avitli designs in black and deep 



remarkable monument. The structure is 
of conical or beehive form, with an in- 
terior diameter of -AG ft. The walls are 
built in horizontal courses of stone blocks 
corl)clk'(l out, each course beyond the next 
l)elow it, tlu" whole interior being hewn 
to a iloniica! shape. They were studded 
witii rosettes of metal. In the middle of 
the floor was a large pedestjil of much 



red upon a yellow ground. The terra- later date, which jn-obably bore a grouiJ of 
cotta roofing is also interesting, and tlie 
ornamented crest-tiles are of novel design. 
The building was probably founded dur- 
ing tlie first half of the vr century li.c. 
Materials exist for an almost complete 
restoration. Tliat of Mcgara. built in 
the second half of the vi cent. n.c. from 
Corinthian booty, was a Doric temjile /// 



statues. On the right-hand side a door- 
way about ; ft. high leads into a smaller 
cliamluM- hewn from the rock, presumablv 
the grave - chainl)er proper of tliis old 
funeral monument, erroneously styled a 
treasury. The walls of this chamber 
were revetted with marble slabs carved 
like the green schist blocks of the roof, 



(iiifis. The tympanum of the pediment with an elaborate and graceful tapestry- 
(11) ft. v' in. by 2 ft. 5 in.) contained 
twelve figures in relief — a recumljent fig- 
ure at eacli extremity and five couples 
of combatants — representing the contest 
between the Gods and the Giants. The 
remains of these sculptures are of im- 
portance as being highly archaic. Tliat 
of Metapontum Selinus and Megara was 
one of tlie oldest of the treasuries. Little 
remains except scanty portions of the 
foundation and fragments of the rosette- 
shaped anthemia of the terra-cotta crest- 
tiles of the roof. 
Triumphal Akcii (Koman) in the line 



pattern of Mycenjean spirals and rosettes. 
The entrance from without is by a door- 
way IS ft. high, between inclined side- 
walls of grayish - l^lue marble, opening 
upon an uncovered passage or drotnos IG 
ft. ;• in. wide. The door-passage of the 
tholos is 8 ft. 2 in. wide at the top, and 
9 ft. wide at the bottom, its lintel being 
formed by a mighty block of gray-blue 
marble IG ft. G in. long. Tlie double 
doors, for which the grooves and hinge- 
holes remain, were probably of bronze. 
This treasury was excavated l)y Dr. 
Schliemaun in 1880-81 and 188G. 



257 



OEFA 



ORFA. See Edessa. 
OROPOS, Attica, Greece. 

Stoa, about 250 ft. to the eastward of 
the temple of Amphiaraos. It has been 
excavated to a length of about 114 ft., 
but its full dimensions are as yet un- 
known. Its southern side was occupied 
by a range of Hellenistic Doric columns, 
and its interior walls were skirted by a 
continuous series of inscribed marble 
benches. 

The Temple of Amphiakaos, called 
the Amphiareum, distant from the city 
about twelve stadia, or a mile and a half, 
was a Doric building with six columns 
between antas terminating in semi-col- 
umns, resting on a stylobate of three 
steps. The interior Avas divided into 
three parts by two rows of five un- 
fluted columns ; and from tlie rear of the 
temple there projected a small quadran- 
gular extension — probably the adytum or 
seat of the oracle. In the middle of the 
interior was a large rectangular base or 
altar. Over the pronaos there was a 
Doric entablature and pediment of ordi- 
nary form, the cornice above being con- 
tinued on the flanks of the temple. The 
architectural forms fix the date of con- 
struction as in the Macedonian or the 
early Roman epoch. The statue was of 
white marble. The building has been in 
great part destroyed by the overflowing of 
the neighboring torrent. 

Theatre, behind the Stoa, of small 
size, but architecturally important. The 
foundations of the stage-structure survive, 
with some of the superstructure. Eight 
pillars, flnished in front Avith semi-col- 
umns, appear to have formed supports for 
the scenery. The auditorium is in great 
part destroyed ; five thrones, however, re- 
main from a roAV of seats of honor. 
ORVIETO, Italy. 

The Cathedral is one of the most 
familiar and celebrated examples of the 
Italian Gothic of the xiii and xiv centu- 
ries. It is commonly ranked Avith the 



cathedral of Siena, Avith Avhich it is near- 
ly contemporary, because of the similar 
outline of its front. The church is cruci- 
form, with a length of about 290 ft., and a 
breadth of about 100 ft., the transept not 
projecting. Its nave is broad, and is sep- 
arated from the aisles by five round piers 
on each side, Avith low foliated capitals 
supporting simple round arches. In front 
of each of the nave piers stands a colossal 
marble statue of one of the Apostles, on a 
high pedestal. Above the arcades runs a 
narroAV projecting gallery Avith quatrefoil 
panels, supported on small consoles, but 
no triforium. The clerestory is high and 
is pierced with a single tall pointed win- 
doAV over each of the nave arches. From 
the Avail of each aisle project five small 
round apses, used as chapels, and between 
them are tall pointed tAvo-light AvindoAVS 
Avith simple tracery in the heads filled 
Avith stained glass. The square of the 
crossing is marked by clustered piers, 
from which transverse arches are throAvn 
across the nave, transept, and choir. The 
choir is rectangular, and is lighted by a 
tall pointed tAvo-light Avindow Avith simple 
tracery, and covered, like the square of the 
crossing, by a simple four-part vault, the 
other portions of the church having open 
Avooden roofs. The Avails and piers 
throughout are banded in black and Avhite 
marble. Opening from each transept arm 
is a large rectangular chapel, of Avhich the 
southern, dedicated to the Madonna di S. 
Brizio, contains on the Avails and ceiling 
some of the most admirable frescoes of 
Fra Angelico and Luca Signorelli. The 
exterior is, Avith the exception of the front, 
banded like the interior in Avhite and 
black marble. The aisle walls shoAV the 
five projecting apses on each side, deco- 
rated with slender engaged shafts ending 
in arched corbel-tables, and covered by 
conical roofs just under the cornice of the 
aisle. The clerestory wall is also divided 
by slender shafts, each bay containing a 
single tall pointed-arched AvindoAV. The 



258 



ORVIETO 



transept and east end are bai'e. The fa- 
9ade is one of the most remarkable in 
Italy. It is of white marble, in three di- 
visions, corresponding in width to the 
nave and aisles, but entirely belying their 
outline, sej^arated and flanked by 
strong square buttresses, their faces 
decorated with long traceried pan- 
els, rising through the front and 
terminating above the roofs in mas- 
sive crocketed pinnacles. At the 
base of each of the three divisions 
is a deeply splayed doorway, tliat 
in the middle round-arched, those 
at the sides pointed, but all deco- 
rated with delicate twisted jamb- 
shafts and arch - mouldings, and 
surrounded by bands of mosaic. 
The archer are covered by high ga- 
bles with crockets and finials. A 
slight and graceful arcaded gallery, 
with cusped round arches carried 
on pilasters and covered by gables, 
crosses the front above the door- 
ways. Over this gallery the wall 
space of the central division is oc- 
cupied by a fine traceried rose win- 
dow witli decorated border and 
spandrels of mosaic, set in a square 
of small quatrefoil panels enclosing 
heads in high relief, and enclosed 
on the sides and above by ranges 
of niches containing statues, single and 
in groups. Tlie three divisions are each 
terminated by a high crocketed gable. 
But the characteristic feature of this 
facade is its decoration. The great piers 
between the doorways, and those at the 
angle of the front, are covered with a 
network of branching vines, enclosing 
crowded figure sculptures of great deli- 
cacy by Giovanni da Pisa and otlier pu- 
pils of Niccolo Pisano. The hollows of 
the spiral shafts of the great doorways 
are filled with mosaics in geometrical pat- 
terns ; a triple band of the same charac- 
ter surrounds the opening of the central 
doorway ; the gables, the rose window, and 



other prominent features of the front are 
outlined in a similar manner, while the 
galjles themselves, both those of the door- 
ways and those terminating the fa9ade, 
and the whole of the wall space above the 










31111111 



Fig. 130. — Orvieto, Cathedral, Central Gable. 

doorway arches, are entirely covered with 
pictured mosaics on a gold ground, and of 
admirable workmanship. The whole front 
has since 1880 undergone a complete res- 
toration. It lias little logical coiniection 
with the church behiiul it. but is a mere 
architectural frontispiece, of which the 
central gable is 40 ft. or more above the 
nave roof, and the side gables are perhaps 
twice as high as the roofs of the aisles be- 
hind them ; but as an independent archi- 
tectural composition, whose keynote is its 
polychrome decoration, it is without a 
rival. The cathedral replaces an older 
one known as the Madonna di S. Brizio, 
and was built to commemorate the mira- 



259 



OSTIA 



cle of Bolsena. Tlie corner stone was 
laid by Nicholas IV. in 1290, and the first 
mass said in the church in 1298. The 
fa9ade was not begun till 1310, and the 
decoration of it was continued through 
most of the xiv century. {See Fig. ISO.) 

Palazzo Communale. This building, 
now much injured, is notwithstanding 
one of the most interesting examples of 
the Italian town-halls of the xiii cen- 
tury. It is a rectangular building about 
60 ft. deep, with two fronts about 120 ft. 
long, standing on what was an open arcade. 
On one front the arcade is still open, con- 
sisting of great round arches springing 
from massive square stone piers with half- 
columns on the jambs, the arch surround- 
ed by a plain archivolt. Over an arched 
corbel-table stands a range of two-light 
windows, divided by columns under round 
bearing -arches. Of the opposite front, 
which Avas probably the principal one, the 
lower arcade is now walled up. The sec- 
ond-story windows are six in number and 
of beautiful design, with mullion-shafts 
and traceried heads under round arches, 
enclosed in a broad band of denticulated 
ornament, with a decorated label and im- 
post moulding. Above, in the flat wall, is 
a row of small segmental arclied windows, 
and at the top a line of forked battle- 
ments. 

S. Andrea was originally a basilical 
church, consecrated, as an inscription tells 
us, in 1013 by Benedict VIII., having 
been restored in 977. Its interior is very 
symmetrical : four slender granite col- 
umns on each side support wide round 
arches and have capitals all carved alike 
in an elegant semi-Ionic style. Both nave 
and aisles are covered with a wooden roof. 
Late in the xiii cent, or early in the xiv 
the two bays of the transept and the 
square apse were added in a semi-Gothic 
style, with richly moulded piers and 
arches, even more advanced than at Fos- 
sanova and the episcopal palace in Orvi- 
eto itself. The peculiar use of A^aulting 



here is an interesting sign (like the at- 
tempt made at S. Sisto in Viterbo) of the 
efforts of Italian architects at this time to 
adopt vaulting in place of the wooden 
roof. In the small space of this transept 
three different kinds of vaulting are used : 
the ribbed cross-vault over the further 
bay of the aisles of the transept on each 
side, the semi - dome over the two bays 
of the nave, and the dome over the bay 
of each transept adjoining the nave. A 
fourth variety, the tunnel-vault, appears 
alongside in the square apse, but is likely 
to be modern. At all events, both nave 
and transept are unusually worthy of 
study. [A. L. P.,Jr.] 
OSTIA, Italy. 

MiTHR^^UM, or Shrine of Mithras, the 
Unconquered, a solar deity of Persian ori- 
gin. In plan it is rectangular, about 17 
ft. by 65 ft., with two narrow entrances, 
raised steps for seats at the sides, and an 
altar with an inscription of dedication. 
Close by, near the Torre Bovacciana, lies 
an important ancient dwelling, with a 
large open court and richly ornamented 
rooms, handsome pavements in mosaic, 
and a bath. 

Roman Theatre, between the Porta 
Romana and the Forum. It was built by 
Agrippa in his third consulship, 27 B.C., 
and restored by Septimius Severus and 
Caracalla. It is mentioned in the Acts of 
Sts. Cyriacus, Maximus, and Archelaus, 
who are said to have suffered martyrdom 
near it. The existing remains, mostly of 
brick and reticulated masonry, date chief- 
ly from a shabby restoration of the v cen- 
tury. 

Temple oe Jupiter, so - called, the 
most conspicuous relic of antiquity on the 
site. It consists of a lofty cella in excel- 
lent preservation, standing at the head of 
a paved street about 500 ft. long, leading 
straight from the river bank. The cella 
rises from a vaulted basement, and had in 
front a fine flight of marble steps leading 
up to the portico of marble and granite. ■ 



200 



OTRANTO 



It is built of brick, and was encrusted out- 
side and in with marl^le. Tliere are in 
the interior three niclies and a base for 
statues. The temple court, about 96 ft. 
by 200 ft., was surrounded by colonnades. 
OTRANTO, Italy. 

Cathedral (Sta. Maria Annunziata), 
an ancient basilica, whose foundation 
dates from the end of the vi cent., 
but changed by repeated rebuildings in 
the VIII, X, and xi centuries. Its nave 
and aisles are separated by arcades of six 
round arches each, springing from col- 
umns and opening into a continuous tran- 
se^it, with three apses in the east wall 
corresponding to the nave and aisles. 
The nave and aisles are floored with a 
remarkable mosaic pavement, with figures 
of men. beasts, and foliage in red, l)lack, 
and green marbles on a white ground. 
This pavement was much injured by the 
trampling of the Turkish horses during 
the Saracenic occupation of Otranto in 
1480. A fine crypt under the transept 
and apses is divided into nine aisles 
lengthwise and five crosswise by round 
arches on granite and marble columns, 
with capitals of various design — antique, 
Lombard, Byzantine — and with promi- 
nent stilt -blocks, supporting a groined 
vaulting. 
OTIUCOLI (anc. Ocriculum), Italy. 

The ancient remains are of considerable 
importance. The chief of them is the 
Am})hitheatre, whose axes are 148 ft. and 
220 ft. It is estimated that it could re- 
ceive fourteen thousand spectators. The 
Basilica has an apse, and is divided into 
nave and aisles by ranges of columns, the 
central space being almost square ; it ex- 
hibits vaulted corridors on three sides. 
In the Thermaj M'as found the beautiful 
mosaic of the Sala Rotonda of the Vati- 
can, where is placed also the celebrated 
bust of Jupiter found at Otricoli. Fur- 
ther east appears the theatre, 217 ft. in 
diameter, aiuT abundant remains of pri- 
vate dwelliiiiis. 



PADUA (Padova, Padoue), Italy. 

The Arexa Chapel. This famous lit- 
tle building, inseparably associated with 
the name and fame of Giotto, is of the 
simplest design, an oblong rectangle, with 
high side walls divided by flat pilasters, 
the south wall pierced with six small win- 
dows, a west front with a gable of medium 
height and an arched corbel-table follow- 
ing its rake, a square doorway with a 
round bearing - arch, and a three-light 
window above. The east end has a simple 
apsidal chancel, and the north side, which 
has no windows, a small sacristy. The 
interior is as simple as the exterior. Side 
walls and vault are one surface, unbroken 
by cornice or string-course. The chancel 
is divided from the nave by a marble 
screen with an altar set against it on either 
side, and the apse has a range of canoi)ied 
seats around the circular Avail. The 
whole interest is in the authentic series of 
frescoes by Giotto, covering M'alls and ceil- 
ings, Avhicli are among the most admirable 
of his works. The chapel was built in 
1303, and the work of the painter was be- 
gun in the following year. The pictures 
consist of subjects from the lives of the Vir- 
gin and Jesus, of representations of the vir- 
tues and vices, and on the vaulted ceiling of 
medallions with figures on a gold ground. 

The Baptistkuv is a small Loiul)ard 
l)uilding of peculiar plan, dating from the 
xii cent., consisting of a cubical mass 
with pilaster-strips at the angles ami ])lain 
narrow round-headed Avindows, out of 
which rises a cylindrical tower, its diam- 
eter nearly equalling the breadth of the 
square below, in two blind stories, the 
wall surface decorated with pilaster-strips 
and arcaded cornices in both stories. 
From the eastern side open three round 
arches, the larger central one into a semi- 
circular apse with an altar, the side arches, 
one into a sacristy, the other into a small 
open porch. The upper story of the 
tower under the Hat roof is finished with- 
in as a dome. 



PADITA 



The Cathedeal is a Kenaissaiice cliurcli 
of no marked importance, in spite of the 
connection with it of the great name of 
Michael Angelo. It is claimed that the 
choir, which was begun in 1552, was 
built from his design by the architects 
Andrea della Valle and Agostino Kighetto. 
It is a cruciform church with a great 
tunnel-vaulted nave about 40 ft. wide, 
aisles with chapels and domed bays, a 
greater and smaller transept, the former 
ending in a|)ses both to north and south, 
an apsidal choir, and a dome at each 
crossing. The work on the church was 
prolonged as late as the xviii cent., and 
the interior is in a late and corrupt Italian 
style. The exterior is of brick, unfinished. 

Eremitani. See S. Agostino. 

Loggia del Consiglio (Council-hall), 
a beautiful Eenaissance building dating 
from the end of the xv cent., built from 
the designs of Biagio Eossetti. It has a 
fine fa9ade of two stories ; the lower an 
open vaulted loggia with seven high round 
arches springing from tall Composite col- 
umns which stand on pedestals connected 
by a balustrade and carry a light entabla- 
ture. Above this the wall is triply divid- 
ed by flat Corinthian pilasters carrying a 
second entablature. In each division is a 
round-arched grouped window, the middle 
one triple, the others double, divided by 
columns. The building stands on a high 
basement with broad steps before the 
three middle openings of the lower story. 
The great hall is now dilapidated and the 
building is used as a military post. 

Palazzo della Ragioxe (Town-hall), 
a remarkable example of the later class of 
Italian public halls, and one of the largest 
of its class. The building has a curved 
roof covered with metal and hipped from 
the four corners, and two stories of ar- 
cades surrounding its outer walls, of which 
the npper portion, comprising perhaps a 
third of their height, above the upper ar- 
cade, is divided by flat pilasters under the 
arcaded cornice, and crowned by quasi 



battlements like those in the Ducal Palace 
at Venice. The arcades consist in each 
story of round arches carried on slender 
columns — the second story having two 
arches to one below, the construction 
throughout very slight, and requiring 
iron tie-rods to insure its safety. In the 
street story, six rows of wall -piers and 
arches support the floor of the great hall, 
which is on a level with the second arcade 
and is entered from it, the arcade being 
reached by four external staircases. There 
is little design in the interior, the windows 
being inconspicuous and the walls divided 
into arched panels filled with ancient fres- 
coes, some of which are claimed to be the 
work of Giotto. The famous feature is 
the great roof, Avhich consists of immense 
timber arches, pointed, the crown of the 
arch 78 ft. above the floor, and without 
tie-beams or other provision for resisting 
the thrust than two lines of iron rods. 
Light is admitted only through small 
dormers, which, as the windows of the hall 
are low, are insufficient for so great a space. 
The building was finished in 1284, the 
architect being Eoccalica, a Paduan. The 
story goes that the great hall was origi- 
nally divided into three, but that at the 
beginning of the xvi cent, an Augustinian 
monk called Fra Giovanni built the great 
roof, after which they were thrown into 
one. Its dimensions are variously stated, 
but the latest measurements (by Motlies) 
give the length of the hall as about 300 
ft. and its breadth nearly 80 ft. 

S. Agostino degli Eremitaxi. The 
great Augustinian church has been much 
changed externally, the front especially 
having been nearly rebuilt in recent times. 
The east end is least altered, presenting 
a great gable divided into four compart- 
ments with a small a|)se in the centre and 
lancet windows on either side. A square 
campanile rises from the north wall. The 
interior has an immense nave, of great 
breadth and nearly 300 ft. long, without 
aisles, covered Avitli a tie-beam roof of 



2B2 



PADUA 



low pitch with a cusped and boarded ceil- 
ing. From the eastern end of the nave 
three arches open into the choir and an 
aisle on either side of it. The church is 
extensively decorated with early frescoes, 
those of the ajDse by Guariente, and those 
of a chajjel on the south side of the nave 
by Mantegna being especially noteworthy. 
The church was built near the end of the 
XIII century. 

S. Antonio (Ht. Anthony), a remark- 
able church of singular design, to which it 
would be difficult, from its character, to as- 
sign a probable date. It may be described 
as a Romanesque church about 300 ft. 
long and 90 ft. broad, on which has been 
grafted the Byzantine systeni of roofing, 
with a result which is not on the whole 
satisfactory. It is said to have been the 
work of Xiccolo Pisano, but this is more 
than doubtful. Its exterior is wholly 
of brick and covered with a strange ag- 
glomeration of domes and towers, which, 
though they are disposed Avitli absolute 
symmetry as regards the i)lan of the 
church, produce in any general view a 
confused eifect. The facade presents one 
great gable of low pitch, its slope curiously 
broken, but not defining the nave and 
aisles, crowned by a slender round central 
turret half as high as the M'all below. 
Tlie first story, comprising two-thirds of 
the front, has a low square central door- 
way under a round arch with a flat niche 
over it. On each side are two very tall 
pointed-arched recesses of unequal Avidth 
with their imposts at unequal heights, 
the outer ones enclosing doors and win- 
dows. Above the arches an ()[)en balus- 
tradcd gallery of small pointed arches on 
columns crosses the entire front just 
under the gable. On the side walls the 
windows, some round- arched and some 
pointed, are generally coupled, the bays 
of the nave defined by gables and divided 
by flat buttresses, the walls finished by 
arched corbel-tables ; the transept arms, 
also gabled on sides and end and but- 



tressed like the nave, have circular-headed 
windows. From the roof rises a line of 
six domes of various heights, over the 
nave, choir, apse, and an eastern chapel, 
flanked by two over the transept. The 
central cupola over the crossing is masked 
by a sharp cone rising high above the 
neighboring domes and crowned by a cir- 
cular lantern and spire. From each side 
of the choir rises a lofty and slender tower, 
which, starting from a square base, be- 
comes an octagon of four stories with 
pointed-arched openings, arcaded string- 
courses, and a sharp pyramidal spire. The 
piers that divide the two great bays of the 
nave are stayed by a huge buttress thrown 
across the aisles on each side and appear- 
ing outside like a solid wall. The archi- 
tecture obviously belongs to several 
periods, but two conspicuous divisions 
clearly assert themselves, first, a round- 
arched (Romanesque) part which includes 
the nave and transept with their vaults 
ami domes ; second, a pointed Gothic 
part including the aisles, the fagade ex- 
cept the central door, the apse of the choir, 
which has been confused by alterations, 
audits fianking turrets. To these are to 
be added tiie Renaissance or modern ad- 
ditions, including the Lady Chapel. The 
original intent seems to have been to 
apply the doming of St. ^[ark's in Venice 
to the Latin cross of a Gothic church, and 
the nave is laid out in three great domed 
bays — of which the third is the crossing, 
flanked by two transei)t arms likewise 
domed — and continued in the square bay 
of the choir witli still a sixth dome. Be- 
yond this is tlie semicircular apse, also 
domed, enclosed by pointed arches sju-ing- 
ing from slender columns and surrounded 
by an aisle of nine bays with four-part 
vaulting and a range of nine radiating 
chapels outside. The main arches are all 
round, the high stilted domes borne by 
spherical pendentives, Avliile in the bays 
of the nave pointed sub-arches have been 
built in, subsequently it would seem, in 



263 



PADUA 




Padua, S. An-tonio, Rear. 



pairs under the main arches, opening into 
the aisle bays, which are two to one and 
groin-vaulted. The interior of the main 
church is bare of detail and blankly white- 
washed, but the chapels are riclily deco-„ 
rated. Each transept arm is occupied by a 
chapel partially separated from the body 
of the church by a line of five arches, 
that on the north being Renaissance, while 
that on the south is Gothic. The latter 
is an elaborate composition, of five high 
open cusped arches of yellow marble 
with decorated mouldings and spandrels, 
carried on tall round columns, and over 
these a solid screen with pointed and 
gabled arches containing statues under a 
horizontal cornice. At the extreme east 
end of the choir is a circular chapel, 
doubtless of considerably later date than 
the church, covered by a hemispherical 
dome like those of the church, but low- 
er. On the south side of the choir are 
three groined cloisters, larger and smaller, 



consisting of pointed arches 
with voussoirs of yellow and 
black marble, carried on col- 
umns with high foliated capi- 
tals. In the larger cloister 
this arcade carries a second 
story with a range of engaged 
round arches, some of which 
are pierced by square - headed 
windows. The record of the 
church goes back no farther 
than the middle of the xiii 
century. It is said to have 
been finished in 1307, with the 
exception of the central cupola, 
which was a century later. {See 
Figs. 131, 132.) 

Sta. Giustina, one of the 
most ambitious of the Renais- 
sance churches, is 375 ft. long, 
240 ft. across the transept, and 
nearly 85 ft. high under the 
vaults. It was built by An- 
drea Riccio about 1520. The 
nave and aisles are separated by 
square piers with a flat Ionic pilaster on 
each face, and a square block of entablature 




■ I 1 1 1 1 1 I ' 1 1 

Fig. 132. — Padua, S. Antonio. 
Scale of 100 feet. 



264 



P^^STUM 



from which spring the cross arches of the 
nave and aisles. The aisles are covered by 
barrel-vaults, and from each opens a con- 
tinuous line of chapels, two to each bay, 
above which the aisle is carried up nearly 
to the height of the nave and lighted by 
round windows. The arms of the cross 
are long, and in each the short bay next 
the crossing is barrel-vaulted ; beyond it 
are three domed bays in the nave, and one 
in each arm of the transept and choir, 
which end in great round apses. The 
crossing is covered by a high dome on a 
round drum. The transept and choir are 
flanked by aisles, all of which end in 
round apses. The choir, of great deptli, 
has a fine range of stalls richly carved and 
backed by an order of Corinthian columns, 
enclosing Bible subjects in high relief. 
Tiie front is unfinished ami bare. The 
sides show tlie high walls of the chapels 
with round-arched windows, and higlier, 
the walls of the aisles like a clerestory, 
with gabled bays divided by pilasters, and 
a single round window to eacli bay. On 
the north side is a fine cloister by Pietro 
Lombardo, resembling the cortile of a pal- 
ace. On an open arcade of piei's with en- 
gaged Doric columns and entablature is a 
second story with an order of Ionic col- 
i;mns on pedestals, with windoM's in the 
intervals decorated witli consoles and pedi- 
ments. 
PyESTUM (Poseidonia), Italy. 

The Basilica, so-called, a Doric struct- 
ure 80 ft. by 178 ft., south of the Temple 
of Neptune, and parallel with it, is a 
jieripteros of nine columns by eighteen, a 
little less than G ft. in diameter at the 
base, on a stylobate of three steps. The 
coluiuns have a marked taper and entasis ; 
the echinus, wide-spreading and weak, has 
in place of tlie annulets a roll, beneath 
which is a hollow necking of Doric leaves. 
IMie usual upper moulding of the archi- 
trave is represented by a separate course, 
and the frieze is without triglyphs. There 
are five cohunns between ant;>3 in the 



pronaos, and the cella is divided into tM'o 
aisles by a central range of columns like 
those of the peristyle. This unusual jDlan 
may be compared with that of the Corcy- 
rtean Stoa at Elis, as described by Pausa- 
nias, and also, in its uneven number of 
columns on the fronts and even number 
on the flanks, with that of the Temple of 
Zeus at Girgenti. The cella walls are 
gone, except the anta?. It Avas probably 
a double temple, having each aisle of its 
cella dedicated to a separate divinity — 
presumably to Demeter and Kora. In its 
architectural details it is very similar to 
the Temple of Ceres, and it probably dates 
from the beginning of the vr century B.C. 

Fo]{Tjfication-Walls, of good, regu- 
lar Hellenic masonry, apparently dating 
from the second half of the iv century b.c. 
Tlie plan is an irregular polygon over 
three miles in circuit. Four gates open 
toward the cardinal points. That on the 
east is well preserved, and is vaulted ; the 
keystone on one face is carved Mith dol- 
phins, that on the other with a Xereid, 
emblematic of the domain of Poseidon. 
T'hey are standing in places to a consider- 
able height. 

Temple of Ceres, so-called (or of 
Vesta), in the nortli part of the city, near 
the Salerno gate. It is a Greek Doric 
peripteros of six columns by thirteen, 5 ft. 
3 in. in diameter at the base, on a stylo- 
bate of three steps measuring 47 ft. by 
106^ ft. on the edge of the top step. Tlie 
columns stand exactly ujiright ; they have 
much entasis and upward diminution ; 
the echinus is wide-spreading and weak, 
with a small roll at its junction with tlie 
shaft, beneath whicli is a liollow necking 
cut with leaves. The upper moulding of 
the architrave is represented by a separate 
course of considerable heiglit. The frieze 
is formed of long blocks in which grooves 
were cut to receive the narrow triglyphs, 
all now fallen away. The metopes are 
smooth, with the usual flat moulding on 
the to]). The projecting parts of the cor- 



N 



205 



PALAIKOS 



nice are gone, except some portions above 
the two pediments. The cella had no 
opisthodomos. Before the pronaos with 
its projecting antse was a portico of four 
by four columns, the front range raised 
on one step, and the two next columns of 
the side ranges raised each one step more. 



-.K-t;^ 




Fig. 133. — Paestum, Temple of Neptune. 

These columns had twenty-four channels ; 
those of the peristyle, twenty. About 
one-third of the cella was cut off for a 
rear chamber, which had a door in the 
rear. At the back of the main chamber 
there was a long, narrow cell projecting 
from the dividing - wall ; this cell may 
have been an adytum, or possibly enclosed 
the cult-statue. As in the other temples 
of Psestum, the cella has been carried 
away down to its platform, for building- 
material. This building, displaying in its 
details various Ionic elements, may be 
dated from the early vi cent. B.C. ; there 
are some traces of a Eoman restoration. 

The Temple oe .Neptune, so-called, 
ranks with the Theseum at Athens and 
Temple of Concord at Girgenti, as one of 
the three best-preserved Greek Doric tem- 
ples, and presents a most majestic effect. 
It is in the southern part of the city, side 
by side with the so-called Basilica, which 
like it fronts on the agora. It is a perip- 
teros 80 ft. by 190 ft., of six columns by 
fourteen, 29 ft. 2 in. high and 7 ft. 5 in. 



in diameter at the base, on a stylobate of 
three steps. The peristyle columns have 
twenty-four channels, but slight entasis, 
and diminish much toward the top of the 
shaft. The entablature and pediments 
are intact, except for a few of the cor- 
nice-blocks. The cella was raised above 
the pronaos and opisthodomos on 
a somewhat high basement ; the 
pronaos and opisthodomos each 
have two columns in antis. Its 
walls, except the antse, have been 
almost wholly removed as build- 
ing-material. In the pronaos were 
stairs leading to the upper parts of 
the building. The interior of the 
cella was divided into three aisles 
by two ranges, still complete, of 
seven Doric columns, nearly 6 ft. 
in diameter, with antse at each 
end of each range. Above these 
ranges of columns were smaller 
ranges, now incomplete. The 
central aisle is only about 13 ft. wide. 
The material is the rough local traver- 
tine or limestone, full of cavities, and 
now of a rich yellow color. The surface 
was coated with fine stucco, now nearly 
all fallen away, upon which the poly- 
chrome ornament was applied. The tem- 
ple may be as old as the middle of the Yi 
century B.C. {See Fig. 133.) 
PALAIKOS (Kechropoula), Acarnania, 
Greece, 
The Walls are extensive and well pre- 
served, partly in polygonal masonry and 
partly in Hellenic. A very notable feat- 
ure is a large gate covered with a true 
barrel-vault of hewn voussoirs, which is 
shown by the construction to be contem- 
poraneous with the polygonal masonry in 
which it is enclosed. Within this gate 
appear remains of a street, of the agora, 
of several large buildings, and of two oval 
cisterns. At the IST. E. angle is a great 
square tower with a double stairway, and 
on the west side access is afforded to the 
platform of the wall by stairways of over 



S66 



PALATITZA 



twenty steps. Here and in other jilaces 

the walls survive jierfect, except for the 

battlements. 

PALATITZA, Macedonia, Turkey. 

Palace, of Greek construction and 
Hellenistic epoch. The facade measured 
about 280 ft. in length, and the depth of 
the Inxilding was much greater. The cen- 
tral portion of the fac;ade formed a monu- 
mental propyla?um with columns which 
appear to have been flanked by porticoes, 
and whose broad passage, with three 
transverse divisions, extended through to 
the great central court. The passage is 
flanked by a number of rooms, some of 
them very large, and one circular, whose 
precise destination is not made out. Tlie 
central court was jirobably colonnaded, 
and it is established that a considerable 
structure stood at the back of it, probably 
the actual abode of the prince ; the exca- 
vation of all but the propyla^um is, how- 
ever, very incomplete. The architectural 
elements found include large and small 
Doric columns and entablature, Doric 
semi-columns, Ionic piers aiul anta?, and a 
beautiful antefix in terra-cotta. The de- 
sign and execution, though testifying to a 
somewhat advanced date, are refined. 
PALERMO, Sicily. 

The Catiiedkal, called also the Ma- 
trice, is a Gothic church which dates from 
the XII cent., but has mostly lost its an- 
cient aspect. It is a large three-aisled 
basilica, with transe^^t and three eastern 
apses, some 360 ft. long and 100 ft. across 
the transept. The broad nave (over 50 
ft.) is in ten bavs. Tlie piers, originally 
groups of four detached columns, were 
walled up solidly at the end of the last 
century, when the splendid wooden roof 
was replaced by a white vault and a liigh 
dome built over tlie crossing by Fernando 
Fuga, against the protest of the architects 
of Palermo. The narrow aisles are bor- 
dered by ranges of chapels, which are in- 
terrupted in the middle of each flank l)y 
a triple-arched recessed porch. 'J'he ex- 



terior retains in the main its aspect of the 
XIV cent., and shows in its rich detail a 
singular mixture of Italian Gothic and 
Saracenic character. Four slender tow- 
ers mark tlie four corners, flanking the 
fa9ade and the end of the choir. The 
fa9ade itself is a rather bald screen, cover- 
ing the nave and aisles, and ending in a 
rich horizontal cornice with a dense ar- 
caded corbel-table above a kind of close- 
set brackets, and crowned by battlements. 
Tall pilaster-like buttresses suggest the 
division into nave and aisles ; the central 
compartment is occujiied by a great shal- 
low Ijlind arch enclosing the main door- 
way at tlie bottom and broken at the top 
into a gabled line above tlie clerestory 
window. Tliis window and door are of 
the late Gothic of the xiv cent., with 
jambs and heads richly decorated with 
shafting and carving. In each side com- 
jiartment is a door and window of earlier 
date, probably of the xiii cent., to which 
belong the corner towers with their suc- 
cessive stories of two-light shafted win- 
dows and low spires rising among gables 
and pinnacles. The horizontal cornice of 
the front is continued all round the clere- 
story of nave, transept, and choir, and 
tlie battlements are repeated at the eaves 
of the aisles and tlie bordering chai^els. 
The high clerestory walls are panelled in 
pointed arches outlined in mosaic, and 
every otlier one occupied by a window ; 
the walls of the apses are elaborately dec- 
orated with interlacing arches and bands 
of marble mosaic. The vaulted porch on 
the south has three broad stilted 2iointed 
arches with slender supporting columns 
and buttressed by low arcaded turrets, 
above them a frieze and low gable filled 
with rich blind tracery. Over the cross- 
ing rise Fuga's dome and cupola, on a 
round drum with an order of Corinthian 
pilasters and pedimented windows be- 
tween, crowning the building well, but 
offending by its incongruous style ; and a 
series of smaller domes over the aisles 



atiT 



PALEEMO 



blocks the clerestory windoAvs without 
excuse. Two enormous pointed arches 
bridge the street before the front, con- 
necting the fa9ade with the campanile 
opposite the nave, which makes part of 
the front of the adjoining archbishop's 
palace. This tower rises in a huge bare 
rectangular mass above the level of the 
nave, and is then broken into an elaborate 
composition of a central tower surrounded 
by an arcade with angle-turrets at the 
corners. This upper part is, like the up- 



peatedly in the next three centuries, and 
at last Fuga was let loose upon it in 1780- 
1801, with the effect that has already 
been described. Most of the early kings 
of Sicily were crowned and buried here, 
and their tombs remain. {See Fig. 134..) 
La Cuba, a noted garden palace in the 
suburbs of Palermo — one of the few purely 
Saracenic buildings still left in Sicily, but 
ruined. It is a plain rectangular mass of 
stone building about 60 ft. by 100 ft. 
and 50 ft. high, its walls broken by 




Fig. 134. — Palermo, Cathedral, East End. 



per parts of the cathedral itself, later and 
more purely Gothic in type than the 
body of the cathedral. The central tower 
has two high belfry-stages above the ar- 
cade, of two-light and three-light windows 
with traceried heads and shafted mullions, 
the corner turrets are boldly panelled with 
blind arches and shafting, and all end 
in low octagonal spires. The building of 
the present cathedral, or the rebuilding of 
the older one on the same site, Avas begun 
in 1170 by Gualterio Offamilio (Walter of 
the Mill), the English archbishop of Pa- 
lermo and chancellor of "William II. of 
Naples and Sicily. It was consecrated in 
1185 to Sta. Maria Assunta, was altered re- 



high pointed-arched panels which run up 
through all the stories, and are occupied 
by Avindows and niches capriciously dis- 
tributed. The cornice carries an inscrip- 
tion Avhich shoAvs it to have been built by 
William II. in 1182 (the last figure of the 
date being somewhat uncertain). The in- 
terior is strijjped and the central hall 
roofless. There are indications of a dome 
carried on stalactite pendentives, and it is 
conjectured that to this the palace owes 
its popular name of Cuba or Kubba, that 
is, dome. A group of pavilions surrounds 
it, of which one remains, a square open 
stone structure with a pointed arch in 
each face, and a round dome. The beauty 



268 



PALEEMO 



of the palace and surrounding gardens, 
two miles in circumference, was famous 
in their day. 

The Martokaxa, or Church of Sta. 
Maria dell' Animiraglio, is in its nucleus 
a small Byzantine church built in the 
first half of the xii cent., and dedicated 
in 11-43 by the high admiral George of 
Antioch. The original mosaic pavement, 
still remaining, shows the outline of the 
old church, which was a square of about 
35 ft. divided into nine bays by pointed 
cross-arches resting on four large columns 
of earlier style. Above the central bay 
was a dome on squinches, and at the east 
end three apses. The M'hole interior was 
lavishly decorated with marbles and mo- 
saics on a gold ground. In 1433 the nuns 
of the adjoining convent, founded in 1193 
by Giorgio and Aloisia Martorana (lience 
the name), l)egged the church for the con- 
vent. At the end of tlie xvi cent, they 
pulled away the front and added four 
bays to tlie nave, extending it till it 
reached the tower which had stood oppo- 
site. Later they tore down the ajises, 
added a square raised choir for tlie nuns, 
a baroco fa9ade against the side facing 
tlic piazza, and in otlier ways so disfigured 
the cliurch tliat its beauty is confined to 
the dome and adjacent parts, where tlie 
original mosaic decoration has been al- 
lowed to remain. Tlie striking tower, 
however, i-ctains its old form. It has 
two square stories below, tlie first an open 
vaulted Gothic porch, then a story adorned 
with mosaics, and Saracenic in character, 
and above these two retreating stories 
with round arcaded corner turrets. All 
these but the lowest have pointed arched 
openings witli sub-arches and mull ion- 
shafts. 

The GsPEDALE GuAXDK. or Sclafani 
Palace, facing the Palazzo Reggia on the 
great piazza, is an old palace built, it is 
said, in the single year 1330 by Matteo 
Sclafani. It is much altered, but the 
south and east fronts retain their old as- 



pect. A very liigli basement of two plain 
stories is broken only by a series of pi- 
laster-strips which, running up into the 
third and jirincipal story, end in slightly 
pointed interlacing arches with banded 
voussoirs, and enclosing double pointed 
windows, with mullion - shafts, under 
pointed arches. The tympajia of the 
windows, the points and spandrels of the 
arches, are filled with a profusion of ro- 
settes in colored mosaic. Above this rich 
third story is a range of i:)ointed twin 
windows divided only by colonnettes. 

Palatine Chapel. See Palazzo 
liefjfjia. 

Palazzo Sclafani. See Ospedale 
Grande. 

The Palazzo Reggia or Reale (Royal 
Palace), is a huge pile of buildings of 
various dates and styles, built on the site 
of a palace or stronghold of the Arab 
emirs, and used for centuries as a royal 
residence by Norman kings, the Spanish 
viceroys, and later rulers. Nothing is 
recognizable in it older than the Xormun 
palace built by Roger II., in 1119. The 
outside is almost entirely modernized, and 
about the central court are grouped many 
handsome modern apartments. Tlie great 
halls of tlie parliament on tlie ground 
floor have been turned into stables, Init 
those in the upper story, reached by a 
handsome staircase of red marble, the 
Hall of the Viceroys, the Audience, and 
the Sala del Parlamento, fitted up on tlie 
return of the viceroys in 1550 — are still 
handsomely preserved. Of tlie four tow- 
ers that surrounded tlie Norman jialaco 
only one is left, restored in 1835, the 
tower of Sta. Ninfa, Avitli panelled walls 
and pointed windows with mullion-shafts, 
containing the Norman hall, a vaulted 
room whose walls and vaults are richly 
decorated with mosaics. Tlie upper part 
of the tower, used as an astronomical ob- 
servatory, contains a room covered by a 
rich stalactite ceiling, of Saracenic char- 
acter. But the finest part of the whole is 



9'.!) 



PALERMO 



the famous Palatine Cliapel, or Capella 
Palatiua, part of the work of Eoger II., 
about 1130, built, like the state apartments, 
in the upper story. Half imbedded in 
the other buildings, it counts for little 
outside. It is reached by a portico of 
half a dozen columns of Egyptian granite, 
and is a small three-aisled basilica, with, 
transept, three eastern apses and a dome 
over the crossing. It is about 43 ft. wide, 
105 ft. long, and 65 ft. high under the 
dome. The nave, 23 ft. Avide, is in five 
bays ; the broad pointed arches, much 
stilted, rest on antique columns alternately 
of granite and marble, fluted and plain, 
with capitals recut in a variety of styles, 



over the 
over the 
ceiling. 




135. — Palermo, Palatine Chapel. 



Byzantine, Lombard, aaid Saracenic. 
The columns are coupled and grouped at 
the crossing, where, over the four great 
arches, the square is brought to a circle 



on small diagonal arches and covered by 
a dome of horseshoe section. Over the 
transept arms are round barrel - vaults, 
aisles open lean-to roofs, and 
nave a rich Saracenic stalactite 
All the wall surfaces are flat 
and smooth ; there is hardly a moulding 
or detail in relief except in the nave ceil- 
ing, but the whole surface is enriched to 
the last degree of sumptuousness with 
painting, gilding, and mosaics, above the 
dado of colored marbles that lines the 
base of the walls. Innumerable j)ictures 
of apostles, saints, and martyrs, scenes 
from the Old Testament and the New, in 
mosaic on gold ground, added by the im- 
mediate successors of Roger, 
cover the walls, dome, and 
apses, mingled with ornamen- 
tal work, Byzantine, Roman- 
esque, and Saracenic. The 
choir-railing, altars, and pul- 
pit are lavishly enriched with 
fine mosaic in the manner of 
the work of the Cosmati at 
Rome. The pavement is laid 
in Alexandrine mosaic of 
varied marbles, and under 
the raised choir is what serves 
as a crypt, perhaps an older 
chapel on the ground floor. 
This chapel is entered singu- 
larly, by two doors at the 
front end of the aisles ; be- 
tween them, in place of a 
middle door, is a kind of dais, 
as if for the royal throne, and 
a reredos is figured on the 
wall behind. Happily the 
whole chapel has come down 
to us almost unaltered in its 
early splendor. ( See Fig. 135. ) 
S. Cataldo, one of the 
earliest of the Norman 
in Sicily, is a small build- 
ing-, Dotn Bvzantine and Latin in plan. 



churches 

both Byzantine and Latin in 



said to have been built by Count Mar- 
sico, one of the royal family, in llGl. 



270 



PALERMO 



It is only about 25 ft. by 35 ft., and is 
divided into a nave and aisles in three 
bays, those of the nave domed, with 
clumsy squinches, the aisles tunnel-vault- 
ed. The arcades are pointed, as are the 
vaults of the aisles ; of the three eastern 
apses the middle one projects slightly, the 
others are in the thickness of the heavy 
wall. The capitals are part Byzantine, 
Corinthian, partly carved cushion capi- 
tals ; the floor is in a mosaic of interlacing 
bands. The church, sometime abandoned, 
has lately been used for the service of the 
Post Office. 

S. Giovanni degli Eremiti, a small 
but interesting Byzantine church. Its 
history is in dispute, but a church and 
monastery existed here from a very early 
date, and it is certain that about 1132 
Roger II. rebuilt or restored it, and gave 
the convent to the order of Montevergine, 
from which time at least the church has 
come down with little alteration. It has 
a nave of two square bays, a short bay and 
apse in place of choir, flanked on the 
north by a square tower, on the south by 
a bay Avhich is now the entrance to some 
later additions. All the bays are covered 
by high domes set on squinches, and tlic 
tower ends in a small dome, behind a 
parapet which is repeated at the eaves of 
the churcli. Tlie arches are mostly round, 
but those across tlie luxve, the entrance, 
and the openings in the belfry are point- 
ed. The peculiar plan and the group of 
domes on the outside give the church 
such an oriental look that several autliori- 
ties have argued that it must have been a 
mosque of the Saracens taken for Chris- 
tian worship. 

S. Giovanni i)i:r Lepkosi. Tliis 
ruined church, interesting as perhaps 
the oldest of the Sicilian churches, was 
built by Robert Guiscard and Roger I., 
in 1071, at tlie moment of the Norman 
conquest of Sicily. It is a three-aisled 
basilica with transept and domed crossing 
and three eastern apses. The arches are 



pointed, the nave and aisles of four bays 
divided by columns. It took its name 
from a hospital for lepers which was an- 
nexed to it by William II. 

Sta. Maria della Catena, a church 
of mixed architectural styles dating from 
the end of the xiv cent., with a front much 
later. Its plan is a rectangle, with a total 
length of about 120 ft., and a breadth of 
about 52 ft. The nave and aisles, of six 
bays each, are separated by arcades of de- 
pressed arches, carried on marble columns 
with composite capitals, and end in octag- 
onal apses, which, as well as the bays of 
the nave, are groined and covered with 
frescoes. A cross arch marks off the two 
eastern bays for a choir, and a line of rec- 
tangular chapels flanks the four western- 
most in eacli aisle. The front is covered 
by a projecting j^orcli, as broad as the 
nave and aisles, approached by a double 
lateral staircase, of which the two flights 
meet in a central landing. The fagade of 
tlie porch consists of three open segmental 
arches on marble Corintliian columns, 
with deep arch-mouldings. Thin pilas- 
ters rise from the capitals of the columns 
to the liorizontal cornice, above which is a 
panelleil parapet with flamboyant tracery. 
At the angles are square buttresses Avitli 
panelled faces, carried above the cornice 
like turrets. The ceiling of the porch is 
groined. The name of the church recalls 
the chain wliicli was stretched for defence 
across the mouth of the harbor, and also a 
miracle by which three condemned crim- 
inals, who took refuge in tlie original 
church on this site, were freed from their 
chains through prayer. 

S. Spirito. This church and Cister- 
cian monastery, about a mile south of the 
city, were founded in 1173 by Gualterio 
Ort'amilio, the English archbishop, under 
"William II. The fa(;ade of the church 
was disguised in 1783. but the interior re- 
tains much of its old aspect. It is a small, 
plain, three-aisled church with transept 
and three eastern apses. Tlie nave and 



271 



PALESTEINA 



aisles are in three bays with pointed arches 
on rude cohimns and heavy piers at the 
crossing ; the clerestory windows are sin- 
gle. Almost the only ornament is the ar- 
cading on the outside of the walls of the 
apses. The church is famous in history 
as that from which was given the signal 
for the massacre of the Sicilian Vespers, 
on Easter Monday, 1282. It has been 
lately restored. 

La Ziza, an early Norman palace of 
Moorish style, built in the xii century. It 
is a rectangular block, about C3 ft. by 116 
ft., and 80 ft. high, built of squared stone, 
relieved only by a turret-like projection in 
the middle of each end, and a panelling of 
pointed arches in three stories, in which 
doors and windows are inserted. Thin 
string-courses separate the stories, and also 
mark the roof, above which a once contin- 
uous parapet has been cut into battle- 
ments, mutilating the inscription that dec- 
orated it. Coupled windows occupy most 
of the panels with a sort of rudimentary 
tracery ; the main doorway, now half 
blocked, was in a high arch running up 
into the second story. It and two lateral 
doors opened into a long vaulted vestibule 
or gallery crossing the whole front. Be- 
hind this, in the middle of the palace, is a 
square hall, made cruciform by niches on 
all sides, and decorated with marble col- 
umns, painted tiles, and honeycomb ceil- 
ings. A fountain in the niche at the back 
flows, or flowed, into a conduit broken by 
fish-basins, which crosses the floor of the 
hall. This hall is repeated in simpler 
form in the upper stories, and surrounded 
by staircases and smaller rooms. The pal- 
ace has been supposed to date from the x 
cent., but the testimony of contemporary 
writers shows it to have been built by Will- 
iam I. (who died in 1108), undoubtedly by 
Moorish workmen, and possibly enclosing 
remains of an older building. 
PALESTRINA (anc. Prajneste), Italy. 

The Sanctuary of Fortune was a 
very ancient and renowned foundation. 



and occupied ten successive terraces, rising 
one above the other, now covered by the 
modern city. The terraces were formed 
partly from the natural rock, and partly of 
vaulted substructions. There are abundant 
remains of the primitive construction, in 
the form of Cyclopean walls serving as re- 
taining-walls for the lower terraces. The 
first terrace, 1,220 ft. long at the base, 
is enclosed with walls of squared ma- 
sonry. On it are remains of a large vaulted 
reservoir, a monumental piscina or basin, 
and a fountain which was ornamented 
with horses. On the second terrace, built 
into the seminary, is an ancient building, 
on whose front appear engaged Corinthian 
columns about 20 ft. high on a basement 
of equal height. At the north end is a 
raised arched tribune with a niche on 
either side. Here was found the celebrat- 
ed mosaic floor known as the Mosaic of 
Palestrina. Around the hall is carried a 
podium 4| ft. high, with a cornice and a 
frieze of triglyphs and metopes with ro- 
settes ; upon this basement stand the bases 
of a range of Corinthian pilasters and 
semicolumns. The pavement is in white 
mosaic with a black border. This build- 
ing was probably the Temple of Fortune, 
mother of Jupiter and Juno. West of this 
temple there is an artificial grotto, vault- 
ed, about 17 ft. in width, with three niches 
in the rock at the end. The floor was 
covered with a highly artistic mosaic, of 
which portions survive. This grotto is be 
lieved to have been the seat of the famous 
Prsenestine oracle. On the sixth terrace 
there are a number of semicircular struct- 
ures, some of them retaining their semi- 
domes ; these presumably represent pavil- 
ions or exedras ; there are also several 
vaulted chambers. The seventh terrace, 
which is about 370 ft. long, presents a 
range of vaulted chambers about 14 ft. 
square, interrupted in the middle to give 
passage to the broad stairs leading to the 
terraces above. The most notable feature 
of the eighth is a vaulted i^ortico of nine 



PALMYKA 



arcades, decorated on the frout with Io- 
nic semi-columns, and communicating by 
arches in the rear with a vaulted gallery. 
At either end is a projecting wing, also 
vaulted, with Corinthi- 
an pilasters and semi- 
cohimns which have 
capitals of jmre and 
comparatively old 
style. The floor was 
in mosaic. Most of the 
masonry of the higher 
terraces is in ojnis in- 
certuni, the voussoirs 
and certain hands, etc., 
being in blocks of tufa. 
The ninth terrace is 
characteirzed by the 
massive foundations of 
a large semicircular 
structure. On either 
side are indications of 
other constructions — 
perhaps lodgings for 
priests. On the tenth terrace, beneath 
the existing chapel, there remain founda- 
tions of a small circular edifice, doubtless 
a shrine or temj^le. This edifice was de- 
stroyed at the end of the xiii cent. 1)y Pope 
Boniface A^III. > The total height of the 
ten terraces is 3G5 ft. 
PALMYRA (Tadmor). Syria. 

Basilica, possibly a temple or a mau- 
soleum, near the city wall on the west 
side, south of the end of the colonnaded 
street. It stood on a raised terrace M'ith 
flights of steps. In the middle was a teti'a- 
style portico with a pediment, and on each 
side a M'ing or portico of five ranges of 
four Corinthian columns. Tliree of the 
interior columns are still erect, with tlie 
pedestals of many others. The frieze and 
the capitals are very delicately sculptured. 
The large apse opposite the tetrastyle por- 
tico is still standing ; it has niches and 
pedimented windows. A broken archi- 
trave-block bears the names of Diocletian, 
Maximian, and Constantius. 



CoLOXXADED Street, running N. W. 
from the triple portal. The columns were 
in four rows. Corinthian, unfluted, about 
25 ft. high, with brackets on their shafts 




Fig. 136. — Palmyra, Street Colonnade. 

for statues. They probably formed the 
fronts of a system of covered porticoes 
along the street, and there is indication 
that there was above a second story with 
smaller columns. The ranges of columns 
extended for a distance of nearly three 
quarters of a mile, and included at least 
seven hundred and fifty columns, of which 
about one hundred and fifty are still stand- 
ing with a great part of their entablature. 
The series of columns is interrupted at in- 
tervals by arches built into the colouTiades, 
and forming part of them. Soiith of the 
middle of the length of the street a cross- 
street is marked by a tetrapyloH or four- 
M\ay gate. Two of the four massive cor- 
ner-piers are still standing, with jiilasters 
and the abutments of arches which spanned 
the portico. Opposite the piers four 
great monolithic columns of Egyptian 
granite stood out in the street. One of 
these still stands ; the shaft of a second, 
which has fallen, is 29 ft. long and about 
3 ft. 4 in. in diameter. At about the middle 



273 



PALMYRA 



of tlie street was a second tetrapylou, 
this one vaulted ; twenty columns remain 
standing of tlie street which diverged here 
toward the west. Eniuous remains of 
many ancient buildings lie along these 
streets, some of them with columns or 
with arched portals. The oblique street 
led from an open (market ?) place through 
an imposing triple arch. To mask the 
obliquity, the two faces of the archway 
were made divergent, giving a wedge- 
shaped plan. Portions remain of the six 
arches of the gateway and of the walls, 
niches, and small arches which connected 
the diverging piers of its two faces. The 
height of the chief surviving arch is 34 
ft. ; it is richly sculptured and is flanked 
by two Corinthian pilasters. The material 
is a yellowish limestone. {See Fig. 136.) 

Great Columx, north of the enclosure 
of the Temple of the Sun. It is about 58 
ft. high and stands on a pedestal. An in- 
scription in both Greek and Palmyrene 
tells that it was erected in honor of the 
family of Alilamos, in 138 a.d. 

Sepulchral Towers. The conception 
of these towers, which were no doubt 
family tombs, is oriental, but in their con- 
struction and details they are Eoman. 
Many of them are standing in the necrop- 
olis which extends chiefly to the west 
and N. W. of the city. One of the best 
preserved, the Tomb of lamblichus, is 
about 58 ft. high, with a basement in 
large blocks, above which are three retreat- 
ing steps supporting the square tower 
proper, which terminates above in a cor- 
nice. The door in the north side of the 
basement opens beneath a triangular pedi- 
ment. About half way up the tower on 
this same side are the remains of a sculpt- 
ured and bracketed roofed balcony which 
was no doubt intended to receive a bust or 
statue. The lowest interior chamber, 27 
ft. square and 20 ft. high, has niches sep- 
arated by Corinthian pilasters, at the 
back a sculptured figure and two rows of 
busts, and a coffered ceiling colored in 



blue and red. The Tomb of Etabalus, on 
the S. W. side of the valley, called by the 
Arabs Kubbet el-Arus, is of the same type. 
The square tower rises from three steps 
which rest on a rectangular platform. The 
door is in the south side and the lintel 
bears the inscription by which it is iden- 
tified. At about half the height of the 
tower there is a large niche in the wall, 
containing a sarcophagus in the form of 
a couch. The chamber on the ground- 
floor is about 28 ft. by 12 ft., and 20 ft. 
high, and is ornamented with pilasters, a 
frieze, and busts with inscriptions. The 
ceiling is coffered, and has mouldings and 
rosettes in white on a blue ground. The 
upper chambers are like those of the tomb 
of lamblichus. 

Temple of the Su2sr, or of Baal, on a 
platform a little south of the middle of 
the great court. It was a Corinthian 
peripteros, about 102 ft. by 195 ft., ori- 
ented north and south. A few of the 
columns remain, especially on the east 
side ; they are fluted, and have lost their 
capitals, which may have been of bronze. 
Opposite the west gate of the court the 
temple has a rich portal between two col- 
umns, leading into the peristyle. On the 
east and west sides of the cella there are 
each four windows. The door of the cella 
is 33 ft. high, and of good design ; its 
soffit bears a sculptured eagle on a starred 
ground between two genii. The cella is 
surrounded by a frieze of figures and gar- 
lands. In the apse at the north end of 
the cella is a niche ceiled with a square 
slab carved with the signs of the zodiac 
surrounding seven pentagons with busts 
in high relief. At each end of the temple 
is a stairway leading to the upper parts of 
the building. This temple was restored at 
the expense of the Emperor Aurelian, in 
273 A.D. : a mosque has been built into it. 
The enclosing-wall surrounding the revised 
terrace of the sanctuary included a square 
of 768 ft., and was about 50 ft. high. 
The north side remains well preserved, 



274 



PAEENZO 



the rest is much ruined, except the foun- 
dation, wliich is about 10 ft. high, built 
of hirge blocks, and about 20 ft. broader 
than the wall itself. The north wall is 
divided by thirteen pilasters, between 
whicli are square windows. At the cor- 
ners are piers resembling towers, G8 ft. 
high, in groups of three. The Arabs 
patched up the wall and dug a moat out- 
side of it to adapt it for a fortress. The 
chief entrance on the west, now destroyed, 
was approaclied by a flight of steps 120 
ft. broad, leading up to a portico of col- 
umns 12 ft. high, before a triple portal. 
The interior was surrounded by a portico 
with a double range of columns, except on 
the west, where there was but a single 
range. This disposition is to be com- 
pared with that of the Court of Israel in 
the llerodian temple at Jerusalem. A 
number of the columns are still standing, 
Avith their entablature ; tliey have on their 
shafts brackets for statues or otlier orna- 
ments, a device almost universal at Pal- 
myra. Tlie original numl)er of columns 
was about three hundred and ninety. 
The wall itself was ornamented with 
niches. The court, whicli is now occu- 
pied 1)y tlie Arab village, Avas paved. 

Temple, in the N. E. part of tlie site. 
It is tetrastyle. prostyle, witli a ])orch of 
six unfluted Corinthian columns bearing 
the usual Palmyrene brackets for statues. 
Square Corinthian pilasters stand at the 
angles of the cella, and a window with a 
triangular i)ediment separates two Corin- 
thian jiilasters on each side. Tlic entab- 
lature is in place, but is defaced, as is the 
door of the cella. Columns and cella are 
luiried to a considerable height. 

'J'emi'le, or perhaps tomb, at the 
luH'th end of the colonnaded sti'eet, across 
which its front is built. It was prostyle, 
witli six unfluted monolitliic Corinthian 
columns with bases of approximately Attic 
proflle raised on square pedestals. The 
central intercolumniation is wider than 
the others. 



Wall, with towers, of Eoman construc- 
tion, i^robably of the time of Justinian. 
It is especially iJerfect on the jST.E. side 
of the site, and extends to the S.E. corner 
of the enclosure of the Temple of the Sun. 
PARENZO (anc. Parentium), Istria. 

The Cathedral is the most important 
ecclesiastical building on the eastern shore 
of the Adriatic. It very closely resembles 
the two great basilicas of Eavenna, and is 
evidently of the same age. Inscriiitions 
declare it to have been built by a bishop 
Euphrasius, and there was such an one, 
contemporary of the Emi^eror Justinian, 
to whose time the architecture clearly be- 
longs. Tlie octagonal baptistery, much 
dihipidated, stands in front of the church 
and is doubtless part of the oi-iginal 
plan, l^efore it is a campanile of the 
XV century, lieyond the baptistery is a 
square atrium, like that of S. Ambrogio 
at Milan, tliougli sniallcr ; behind this 
the basilica itself. The atrium lias an 
arcade of three arches on each side with 
Eavenna -like capitals and stilt -blocks. 
The fayade of the church behind it was 
covered with rich mosaics, of which there 
are still remains. The interior has a 
nave and side-aisles divided by arcades in- 
to ten bays, again with Eavenna-like caj^s, 
l"»artly of basket form, and partly Byzan- 
to-Corinthian. The nave is plain and 
bare, Jiearly 30 ft. wide between the 
centres of columns and something more 
than 100 ft. long. It is therefore much 
smaller than the great basilicas of San 
ApoUinaris at Eavenna, but the apse is 
finer and in better preservation than in 
either of these. The stone bench for the 
clergy still surrounds it, with the bishop "s 
throne high in the middle. Above the 
seats is a high dado, richly inlaid with 
porjihyry and colored marbles, above tliis 
the whole apse is covered with a splendid 
and well-preserved mosaic on gold ground 
full of pictures of the virgin and saints, 
among them Euphrasius himself. The 
apse is round within and polygonal witli- 



276 



PARMA 



out, shows six faces, and so lias a pier in 
the middle. A rich baldacchino of the 
XIII cent, covers the altar in the middle of 
the apse. Professor Eitelbeger ascribes 
the mosaics of the apse to the date of this 
canopy, but their style seems to suit the 
original apse. There are two modei'n tran- 




Fig. 137. — Parenzo, Cathedral. 

sept arms, one now used as the choir, and 
on the north side a series of small chap- 
els, curiously arranged, and perhaps old- 
er than the basilica itself. They show a 
trefoil of apses, round within and polyg- 
onal without, and, like the great apse, 
pi'Bsenting an exterior angle in the mid- 
dle. In these chapels are remains of fine 
mosaic pavements. The nave, whose floor 
was below that of the aisles, was also 
paved with mosaic, but the continual 
subsidence of the ground on which the 
church stands brought the floor below 



the water level, and it has been filled to 
the level of the aisles. A still older mo- 
saic pavement seems to have underrun 
the whole church, including the side 
chapels, which gives color to the tradi- 
tion that Eujjhrasius built his church on 
the remains of an older building. [See 
Fig. 137.) 

The Roman Remains comprise vestiges 
of the Forum, and portions of the Capi- 
tol, the theatre, and two temples. The 
greater part of the stylobate of one of the 
temples is in situ ; of the other, only two 
broken fluted columns remain in place. 
In the neighboring garden of the 
Marchese Polesini there are fragments of 
the architecture of these temples, in- 
cluding shafts of columns, a Corinthian 
capital, etc. 
PARMA, Italy. 

The Baptistery, one of the most im- 
portant and interesting of the baptisteries 
of northern Italy, differs widely from 
all the others in form and construction. 
It is a lofty octagonal building, striped in 
gray and red marble, with six stories ex- 
ternally and a flat roof. On the first 
story each side is occupied by a round 
arch, of which three enclose deep door- 
ways with decorated arch-mouldings and 
tympana. Above are four stories of gal- 
leries with slender columns supporting 
heavy horizontal entablatures, and an 
ujDper story of engaged round arches, also 
on columns. The angles are accentuated 
by broad flat pilasters with foliated capi- 
tals just below the upper cornice, and by 
octagonal pinnacles above the roof. Be- 
tween the pinnacles is a light open fence 
of stone. The entire lack of correspond- 
ence between the exterior and interior is 
singular. The interior is a polygon of 
sixteen sides, each side occupied on the 
first story by a broad niche which is al- 
most an apse, with slender columns in 
the angles, covered by a vault which 
springs from the second external story 
and occupies the height of the other four. 



276 



PASENATICO 



The exterior cornice is thus above the 
crown of the interior vault. A nearly flat 
wooden roof covers the whole. Tlie 
building Avas completed, or first used, in 
121C. 

The Cathedral (Sta. Maria Assunta), 
a notable exainjole of Lombard Eoman- 
esque architecture, cruciform in plan, 
with apsidal transept and choir, and an 
octagonal lantern and dome at the cross- 
ing. The breadth across nave and aisles 
is about 80 ft., the whole length about 
240 ft. The exterior design is consistent 
throughout. The fa9ade has three door- 
ways Avith round-arched heads, the cen- 
tral door being in a slightly projecting 
porch faced with lion -columns of red 
marble, which is carried up through two 
stories and finished with a low gable. 
Above the doorways are two similar stories 
of arcades, the arches arranged in groups 
of three. The fa9ade finishes with the 
low Italian gable and an arcaded cornice 
over an open arcaded gallery with col- 
umns restiiig on steps, following the rake 
of the gable. At one angle of the fa9ade 
is a square campanile of four stories, the 
divisions slightly marked by thin string- 
mouldings with arches l)elow. The upper 
story has recently been partially rebuilt 
with four pointed arches on each side, and 
a low polygonal spire. The open galleries 
under the eaves, and the arcades below, 
are continued quite round the churcli. 
The apses are peculiar in design, being 
divided into circular -headed panels by 
slender shafts rising tAvo-thirds of their 
height, with the arcaded gallery above. 
The octagonal lantern has likewise its 
open arcade, and over it a frieze of small 
blind arches. The dome is low, octag- 
onal, and croAvned by a small cupola. 
The interior has a nave and aisles of seven 
bays, vaulted, the nave arches round, Avitli 
a triforium of tall round arches on slender 
columns, and a single arched AvindoAV to 
each bay of the clerestory. Tlic bays of 
the aisles are square, those of the nave ob- 



long, each covered by a four-part vault ; 
but the original plan seems to have been 
for a six-part vault, for from every alter- 
nate pier a broad square pilaster Avith an- 
gle-shafts rises from the fl.oor to the spring 
of the vault to carry the cross-rib, while 
the intermediate piers have only a slender 
vaulting shaft springing from the capitals. 
The transept arms have each two apses, 
one on the end and another on the east 
side. Beneath the raised choir is a fine 
crypt of unusual size and height with a 
vaulted roof sujjported by many slender 
columns of marble with carved capitals. 
The crypt dates from the first half of the 
X cent., the church itself from the mid- 
dle of the XI, having been consecrated in 
HOG, after the nave had been partially re- 
built in consequence of an earthquake. 
The chapels Avhich line the aisles are late. 
The Avails and vaults are covered Avith 
frescoes, of Avhicli those in the dome are 
by Corre<)-gio and are esteemed amons: the 
finest of his works. 

S. GlOVAXXI EVAKGELISTA, a XVI 

cent. Renaissance church, with a square 
detached campanile of later date, bearing 
an octagonal belfry. It has a long vault- 
ed nave and aisles, separated by square 
piers faced with fiuted Ionic pilasters, 
a transept, apsidal choir and vaulted lan- 
tern at the crossing, Avith pendentives. 
The dome and the vault of the apse are 
adorned with frescoes by Correggio. The 
interior of the church, by Zaccagni, a 
local architect, dates from 1550, the ex- 
terior, in baroco style, decorated Avitli 
two orders of pilasters, Tuscan and Ionic, 
and finishing in a singular broken outline, 
is by Simone Moschino, of Orvieto (KiOT). 
The church is attached to a large Bene- 
dictine monastery, finished in 983, and 
partially relniilt at the end of the xi cent. 
by Bishop Siegfried. It has three quad- 
rangles surrounded bv arcades. 
PA'sEXATICO, near Pareuzo, Istria. 

S. LoREX'zo is a basilica consisting of a 
nave and tAA'o aisles. The nave, about 85 



PATAEA 



ft. long and 20 ft. wide, is of nine bays 
Avitli round columns, carved capitals, and 
stilt blocks carrying the arches. It has 
three apses at the east end, a flat ceiling, 
and raised choir. The old round-arched 
clerestory windows are replaced by modern 
lunettes. The church has been classed 
as early Byzantine ; but its carved and 
moulded details show that it is later, hav- 
ing the character of early Lombard work. 
It is ascribed by Mr. Jackson to the A'lii 
or IX cent., and is valuable as a rare exam- 
ple of such work so far east. Two of the 
original apse windows are remarkable, 
being filled with a tracery of interlacing 
circles, and evidently not meant for glazing. 
PATAEA, Lycia, Asia Minor. 

Temple, small, but in many waj^s ex- 
cellently preserved and of great beauty. 
It is in antis. The cella remains almost 
perfect, witli its doorway, which is richly 
ornamented like those of other struct- 
ures in the Corinthian style, and is about 
24 ft. high. 

Theatre, a structure of the time of 
Hadrian, lavish in ornament and mate- 
rial. The cavea, 265 ft. in diameter, is 
excavated in a hillside, and has an upper 
and a lower division, each of fifteen tiers 
of seats. An inscription on the east side 
of the theatre sets forth that it was built 
by Q. Titianus, and restored by his daugh- 
ter Velia. The diameter of the orchestra 
is 96 ft. 
PATEAI (Patras), Achaia, G-reece. 

Odeum, adjoining the agora ; de- 
scribed as the most magnificent of any 
in Greece, excepting that of Herodes at 
Athens. It contained a notable statue of 
Apollo which was dedicated from the 
spoils won by the Patrenses when they 
aided the iEtolians against the invading 
Gauls in 279 B.C. Its remains were found 
in 1889. It was a semicircular Eoman 
structure in brick, with seats rising in 
tiers, and radial stairways. 
PAYIA, Italy. 

The Castle, the ancient fortress-pal- 



ace of the A'^isconti, one of the largest and 
also one of the best preserved of the mili- 
tary houses of its period, is a vast pile of 
brick on the edge of the town, former- 
ly consisting of four masses of building 
enclosing a quadrangle of some 300 ft. 
square, and with four massive and lofty 
towers at the outer angles. One side has 
disappeared with its two angle-towers ; 
but the other three sides remain, and the 
entrance front toward the Piazza del Cas- 
tello is in nearly perfect condition. It is 
about 500 ft. long, wholly of brick, with 
a battering basement rising from a moat, 
and two similar stories of large windows 
divided by columnar mullions into two 
openings with cusped heads. The en- 
trance in the centre of this front is ap- 
proached by an arched bridge, also of 
brick, protected by a low tower. The 
wall ends in a machicolated cornice, sur- 
mounted by tall, forked battlements. At 
each extremity of this noble fagade rises a 
large square angle-tower, projecting from 
the walls, carried up two stories above 
them and crowned with forked battle- 
ments like those of the main building. 
The inner court is of great interest. It is 
surrounded by an arcade on both stories, 
the lower of simple pointed arches carried 
on strong round stone columns with large 
carved capitals ; the upjoer of round bear- 
ing arches of brick, now partly filled up, 
but each originally enclosing four narrow 
ojDenings with cusped heads and mullion- 
shafts and tymj)ana filled with tracery. 
A small but richly decorated cornice com- 
pletes this fine composition. The build- 
ing dates probably from about the middle 
of the XIII century. Its interior, quite 
degraded, is noAv used as a barrack. 

The Cathedral (S. Stefano) is an 
unfinished Eenaissance church, begun in 
1488 when the old cathedral had been dis- 
covered to be in a dangerous condition. 
The plan, by Cristof ero Eocchi, is imposing 
and presents some unusual features. A 
long vaulted nave in eight bays, with side 



278 



PAVIA 



aisles and chapels, leads to a vast octag- 
onal rotunda enclosed by eight clustered 
piers, joined by round arches and sup- 
porting a dome. Beyond this opens a 
choir, flanked by aisles and terminating 
in a semicircular apse. The transejit had 
aisles from which opened four circular 
chapels. Large apses end the choir and 
transept arms, and every outside bay in 
the whole church, except across the front, 
is bordered by a semicircular chapel. The 
nave was to be flanked by two detached 
square towers more than 300 ft. high. 
Completed according to the design, the 
church would have l)een one of the most 
splendid in Italy ; l)ut only a portion was 
built. The eastern portion of the choir 
was finished in 1518, the whole choir a 
century later. In 1757 the transept was 
finished with the two chapels east of it, 
and in 17C8 the great central octagon was 




Fig, 138.— Pavia, Cathedral. 
Scale of 100 feet. 

built and the nave begun. The work still 
goes on, and the west end. including the 
facade of the church, is still unbuilt. {Sec 
Fifi. 138.) 

The Certosa, a Carthusian monastery 
founded in loiXi by Oian Galeazzo Vis- 
conti. Its arcliitcctural interest is con- 
fined to its celebrated church, one of the 



richest and most elaborately decorated 
buildings in Europe. A vestibule, with 
some much - decayed frescoes by Luini, 
leads to an inner court, at the farther end 
of which is the front of the church, which 
has a nave and side aisles, transept and 
choir, with a polygonal dome at the cross- 
ing. The exterior, except the front, is of 
brick, and is a curious mixture of styles in 
which the Lombard-Komanesque may per- 
haps be said to predominate, several of the 
most notable features of tliat style, as the 
round ajjse and the arcaded galleries un- 
der the cornice, being employed in almost 
unequalled profusion. The complexity 
of the design, however, makes the general 
effect more Gothic than Lombard. The 
projections of the chapels about tlie choir 
make three re-entrant angles in each 
shoulder of the crossing ; each salient 
angle of the building (twelve in all) is 
marked by a small scpiare turret, carried 
up into an open shrine or lantern ; the 
buttresses and gables are crowned by pin- 
nacles. The octagonal lantern at the 
junction of nave and transejit is a strik- 
ing and eifective feature, comjiosed of two 
retreating stories of open colonnades with 
entablatures, a third story of arches sur- 
mounted by abalustrade, and a Renaissance 
belfry with eight arches and pilasters at 
the angles, crowned with a high dome. 
The facade, nearly a century later than 
the body of the church, is wholly distinct 
from it in design, being an early Eenais- 
sance building, begun in li73 by Borgo- 
gnone, a Milanese architect, and finished 
after his death. It is divided by in-oject- 
ing pilasters into five compartments, the 
three in the centre being carried up to a 
level gallery of open arches with a heavy 
corniccione far above the nave roof, the 
two side compartments terminating at 
half the height of those in the centre, 
with open belfries at the extreme angles. 
The whole front has become of almost un- 
paralleled richness by successive elabora- 
tions. The sinu'le doorwav in the middle 



279 



PAVIA 



is in a round arcli^ flanked by coupled Co- 
rinthian columns on either side with 
broken entablatur.es. In the side divisions 
are groujoed windows with architrave. 



and 170 ft. in breadth across the transept, 
is scarcely less rich in decoration. The 
nave has four bays ; the nave arches are 
round, as are also the arches by which the 




Fig. 1 39.— Pavia, Certosa. 



frieze, and cornice. Above the first story 
a gallery of open arches runs the whole 
width of the front. Above is a range of 
windows, that in the centre being circular, 
those in the sides being round-arched and 
coupled. Every portion of the front is 
covered with sculptured ornament, the 
pilasters carrying ranges of statues in 
niches, and the wall being divided into 
panels decorated with carving and inlay 
of rich marbles, porphyry, jasper, bronze, 
medallions of the Roman emperors, heads 
of angels, bas-reliefs from subjects in 
sacred history. The decoration went on 
for two hundred years. The interior, 
which measures about 250 ft. in length 



chapels, fourteen in number, open from 
the aisles, two chapels to each bay, and the 
window openings above them ; the vaults 
of the nave and aisles are six-part, the 
bays of the nave being square and those 
of the aisles oblong, in the usual Italian 
fashion. The wide pier arches rise to the 
springing of the nave vault, leaving no 
room for a triforium, and the clerestory 
Avindows are small lozenges cusped to qua- 
trefoils. But in the high walls of the 
aisles, over the low cha23els, a range of de- 
tached windows takes the place of a tri- 
forium, and the clerestory above them 
repeats the clerestory of the nave. The 
spaciousness and openness thus gained, the 



280 



PAVIA 



double clerestory and line of chapels be- 
yond, give the impression of a double- 
aisled church, and echo on a small scale 
the effect of the interior of Milan cathe- 
dral. The choir and side chapels are shut 
off from the transept by a high grille in 
iron and bronze of great richness and 
beauty. On the south side of the church 
are two cloisters, with beautiful arcades 
of terra-cotta arches decorated profusely 
with exquisitely modelled sculjjture in 
high and low relief, and supported on 
slender marble columns. The larger of 
these cloisters measures 420 ft. by 330 ft., 
and is surrounded l)y the twenty-four small 
houses of the monks. {See Figs. 139, 

UO.) 

S. Fraxcesco, a cruciform Gothic 
church of the xiv century. Its interior 
has been greatly altered and modernized, 
but the easterly portion remains substan- 
tially as of old. Prom the east wall of the 
transept open five square chaj^els, of 
■which the middle one is the largest and 
makes the choir. The nave piers are cru- 
ciform in section, with large half-columns 
on each face wliich carry the longitudinal 
and transverse nave arches, and small 
vaulting-shafts in the angles. A row of 
chapels opens from each side aisle, with 
pointed windows. Tlie exterior is of brick 
witli a front of some elegance, divided into 
three compartments by projecting but- 
tresses terminating the high round pinna- 
cles. A single broad gable covers the en- 
tire front and masks the aisles, the central 
portion slightly raised. The first story is 
plain checkerwork with three doorways of 
rather mean design. Above is a fine large 
pointed arch, the principal feature of the 
front, now filled up with masonry but for- 
merly with tracery. A rich terra-cotta 
cornice crowns the gable and encircles the 
building. 

Sta. Maria Coroxata, a small Renais- 
sance church, known familiarly as Sta. 
Maria di Canepanova. built in 1492 for 
Gian Galeazzo Sforza from the designs of 



Bramante. It is octagonal, divided into 
two orders, of which the upper is an open 
gallery of sixteen arches carried on alter- 
nate piers and columns, and crowned by 
a dome ; and has an octagonal choir, also 
domed. 

S. MiCHELE, one of the most interest- 
ing of the Eomanesque-Lombard churches 
of the XI and xii centuries. It is cruci- 
form, with three aisles^ square transept, 
an apsidal choir, and an octagonal lantern 
over the crossing. The dimensions are 
not large, the width of nave and aisles be- 
ing about 83 ft., transept, 124 ft., total 
length 183 ft. Its exterior is extremely 
rude for the most jDart, both in design and 
execution. The fa9ade rises to a single 
low gable without a cornice, and is unbrok- 
en except by four groups of shafts, deco- 
rated with zigzags and spiral rope-mould- 
ings and bas-reliefs which, rising from the 




Fig. 140.— Pavia, Certosa, Cloister. 

ground to the rake of the gable, stop there 
without capitals or otlior terminal feature. 
The front is thus divided into three nearlv 



SSI 



PAYIA 



equal compartments, in each, of which, is a 
round-arched doorway with splayed jambs 
and soffit, very richly decorated -with carv- 
ing in low relief, and a tympanum bear- 
ino- a single standing figure of an angel. 
Above the central doorway is the figure 
of the archangel Michael standing on a 
dragon, and above each of the side doors a 
figure of a saint. Over these is a line of 
donble-arched small windows separated by 
mullion-shafts. Higher yet in the central 
compartment are other small openings. 
Following the rake of the gable is an 
open gallery of tall narrow round arches, 
carried on slender shafts resting on steps. 
The lower half of the front is adorned 
with horizontal courses of continuous bas- 
reliefs, composed mostly of grotesque fig- 
ures of birds and animals, rudely exe- 
cuted but very spirited and interesting. 
The apse is divided by shafts, single and 
grouped, running fi'om ground to cor- 
nice, and pierced by two simple windows 
just under the spring of the vault. Above 
is an arcaded eaves-gallery, the openings 
in groups of two, divided by light shafts 
with capital and base ; the groups them- 
selves by square piers — an extremely grace- 
ful and effective decoration. A tall cam- 
panile rises from the north side behind the 
transept, of which that portion above the 
church wall is of comparatively recent 
construction and uninteresting in design. 
The interior is imposing. The nave, 
about 33 ft. broad, is divided into four 
bays by strong piers, alternately larger 
and smaller. On the faces of the piers, 
vaulting shafts with strong capitals rise to 
take the bold cross-ribs of the simple four- 
part vault. The aisles are vaulted in the 
same manner. Rather low round arches 
with strong and rude mouldings divide 
the aisles from the nave, and above these 
is a very broad triforium-gallery, opening 
from the nave by a single round arch in 
each bay, occupying the whole space be- 
tween the piers as at S. Ambrogio, Mi- 
lan {q. v.). The transept arms are square, 



as wide as the nave, and covered by barrel- 
vaults. The choir is a single square bay, 
vaulted like the nave, with a round apse 
of equal width, lighted by three windows 
and covered by a semi-dome. Its raised 
floor is approached by a flight of thirteen 
steps, and under it is a fine vaulted crypt, 
divided into three aisles by two rows of 
slender stone columns of various forms 
and with various capitals. From the piers 
at the crossing of nave and transept rises 
an octagonal lantern of two stories on 
squinches. The first story has large 
round-arched windows occupying nearly 
the whole of each face, the second story an 
open gallery of small arches under a low 
roof. The walls and vaulting of the in- 
terior are of red brick, and the effect of 
warmth and richness is striking. The 
original church on this site was built in 
the Tii cent., and the local antiquaries 
have struggled to establish the identity of 
the present church with the vii cent, 
building. But the claim can hardly be 
maintained, and there is every probability 
that it dates from the end of the xi cent- 
ury. 

S. Paxtaleoxe, sometimes called Sta. 
Maria del Carmine, is a large and in many 
respects singular cruciform church of 
brick, of the xiv cent., with abundant 
exterior decoration in terra-cotta. The 
front is divided by jjrojecting square pi- 
lasters — awkwardly managed and termi- 
nating in tall pinnacles — into five vertical 
compartments answering to the divisions 
of the interior. In three of these com- 
partments are doorways with high pointed 
arched heads, and tympana with figures 
in relief. Above are four high pointed 
two-light windows with mullions and 
tracery, and above these again a large and 
rather fine rose window. The front ter- 
minates in the usual low gable, with an 
unusually elaborate cornice, but the cen- 
tral division of it is carried a little above 
the line. The original architecture of 
the sides has been much changed, but the 



282 



PAVIA 



traiisept and clioir appear to retain their 
primitive design, the angles being marked 
by buttresses or pilasters similar to those 
of the front, but without pinnacles, be- 
tween which are high-pointed windows 
witli trefoiled heads, and a large circular 
window above. These portions are also 
much decorated with terra-cotta. A fine 
bell-tower with a rich belfry stage rises 
from the intersection of the south tran- 
sept and the choir. The interior, also in 
brick, consists of a nave with four square 
vaulted bays, each with two arches opening 
into the side aisles, which are vaulted like 
the nave but with double the number of 
bays. A line of chapels opens from each 
aisle, giving great width in proportion to 
the length. The transept arms and clioir 
are each vaulted in a single bay. The 
high clerestory is pierced only by small 
round openings. 

S. PlETKO IN ClELO d'OkO, a XII Cent, 
church, witli nave, aisles, and clerestory, 
a transept not projecting beyond the aisle- 
walls, a central octagonal lantern over the 
crossing, and a round apse opening from 
the eastern wall of tlie transept without 
any intervening tribune or clioir. Its 
total length is about IGO ft., its breadth 
about 78 ft. The floor of tlie church is 
some 5 ft. below the tlireshold of tlie west 
door. The nave and aisles have five bays ; 
those of the nave being oblong, those of 
the aisles square, distinguishing this 
church from the ordinary Lombard type. 
The piers are composite with an engaged 
column or piiasttT on eacii face. Both 
nave and aisles are covered with four- 
part vaults, excepting the westernmost 
bay in each, which is barrel- vaulted. 
Each bay of tlie aisles has a simple round- 
headed window, and the clerestory windows 
are similar. Tlio crossing is covered by 
an octagonal lantern, vaulted internally, 
tlie transept by barrel-vaults. 'I'lie apse 
was lighted by tiiree or five round-headed 
windows, and covered by a hemispherical 
semi-dome. A crypt, now virtually de- 



stroyed, extends under the apse and un- 
der the crossing. It was divided into five 
aisles, vaulted on small columns. The 
front is covered by one low gable, mask- 
ing all the roofs behind, and divided into 
three compartments by two unequal but- 
tresses, one of which contains a sjjiral stair. 
The lower half of each compartment is 
occupied by a blind arch, the middle one 
containing a doorway with curiously dec- 
orated jamb-pilasters and shafts, a round 
arch, and a low sculptured gable. These 
thi'ee blind ai'ches apparently correspond 
to the arches of a great vaulted porch, 
traces of which are still to be seen on the 
pilasters of the front. Above are two 
ranges of small windows in the centre. 
An arcaded gallery follows the rake of 
the gable. The apse also has buttresses, 
of greater projection, and above them an 
arcaded eaves-gallery. The low lantern is 
terminated by an open gallery of arches 
on columns. The church was consecrated 
in 113:2, by Pojie Innocent II. 

S. Tkodoro, a late Lombard church 
of brick, with nave, aisles,- clerestory, and 
transept — not projecting — three eastern 
apses, and a central octagonal lantern. Its 
dimensions are small, about 107 ft. by 65 
ft. Its exterior is simple Eomanesque, 
the front in three divisions separated by 
square buttresses, the central division con- 
taining a round-arched doorway with some 
ancient sculpture, and a rose - Mindow 
above, a single low gable covering the 
whole. The side buttresses are joined to 
those of the clerestory by hidden flying 
buttresses, carried on the cross-ribs of the 
aisle-vaults, and showing through the aisle 
roofs like ascending parajiets. The tran- 
sept walls end in low gables. The three 
apses are divided by slender round shafts 
with capital and base, ending in an arched 
corbel-table and simple cornice, with an 
octagonal tiled roof. The plain windows 
are everywhere round-headed. A charac- 
teristic central lantern over the crossing 
leaves the roof as a square, and changes to 



as3 



PEKGA 



an octagon with an arcaded gallery decor- 
ated with round plaques of majolica in 
the spandrels, and with two smaller stages 
above. The interior shows a nave and 
aisles of three bays each, square in the 
former and oblong in the latter, anticipa- 
ting the system of the later Gothic 
cliurches of Italy. The piers, bearing 
round arches, are composed of a square 
with four engaged shafts. The nave and 
aisles are covered witli unribbed four- 
part vaults. The bays of the transept are 
carried to a greater height, the central 
one being covered by the vaulted octag- 
onal lantern, the sides by barrel-vaults. 
The floor of the transept, raised some 6 
ft. above that of the nave, is approached 
by three broad flights of steps from nave 
and aisles. Three apses open from its 
east wall, the central one somewhat larger 
and deeper than the others. The crypt, 
extending under the whole of the transept 
and its three apses, is divided into seven 
aisles by small columns, and vaulted 
throughout in square bays. The whole 
interior of the church except the columns 
is of brick. The capitals are of rude and 
rather inferior character. There is no 
accurate record of the date of this church, 
but it may in its present form probably 
be referred with safety to the middle or 
end of the xii century. St. Theodore, who 
was bishop of Pavia 766-778, was buried 
in S. Giovanni in Borgo, but his body was 
later transferred to this church. 
PERGA, Pamphylia, Asia Minor. 

STADiuir, near the theatre. Nine tiers 
of seats with their vaulted substructions 
remain practically perfect ; between these 
and the surviving podium bordering the 
arena there were probably three more 
tiers of seats. Above the existing seats 
there appears to have been a colonnaded 
gallery. The long axis is 771 ft., the 
width, 194 ft. ; axis of the arena, 732 ft. ; 
width of the arena, 115 ft. There is an 
arched passage through to the arena in 
the middle of the spliendone or semicir- 



cular end. Fellows describes it as quite 
perfect at the time of his visit (about 1840), 
including the seats on both sides. 

Theatre, of the time of Trajan or of 
Hadrian (98-138 A.D.). Next to that at 
Aspendos, it is the finest and best pre- 
served in Asia Minor. The diameter is 
330 ft. ; the seats, of ogee profile, consist 
of forty tiers, which are mostly in place ; 
the material is gray marble. The fa9ade 
of the stage-structure is in good preser- 
vation ; it has five great niches, 32 ft. to 
36 ft. high, with columns of red-veined 
breccia between them. The theatre is in 
great part built up of masonry ; at the 
top of the steep cavea is a gallery, which 
was arcaded at the back and colonnaded 
in front. There is one diazoma or hori- 
zontal passage, and in the lower divisions 
thirteen radial stairways. 
PERGAMON, Mysia, Asia Minor. 

Great Altae of Zeus, erected by 
Eumenes II., in the first half of the ii 
cent. B.C., in course of the extension and 
beautifying of the city which followed the 
Pergamene triumphs over the Gauls. It 
rose in the middle of the higher terrace 
of the agora, and consisted primarily of a 
great base 98 ft. square and about 19 ft. 
high, in masonry of conglomerate cased 
in marble, and resting on a triple plinth. 
On the west the base was cut into by a 
broad flight of steps between projecting 
piers. In the middle of the top rose the 
altar proper, formed like that of Olympia, 
chiefly of the ashes of sacrificial victims 
heaped together. This area was surround- 
ed by graceful Ionic porticoes facing out- 
ward, their back walls being turned toward 
the ash-altar. The sides of the base were 
surrounded, above a plain die crowned bj'' 
mouldings, by the noted Great Frieze of 
Pergamon, sculptured in high relief with 
the varied scenes of an extensive Gigan- 
tomachy. These sculptures, which repre- 
sent a new development of Greek art, are 
full of vigor and movement, Avhile lacking 
the stately repose of the older Greek art. 



2S4 



PEEGAMON 



and in their expression of the passions 
they approach the standpoint of modern 
art. This frieze, 7^ ft. high, was capped 
by a riclily moulded and widely project- 
ing cornice. The interior walls of the 
porticoes were adorned by the Small 
Frieze of Pergamon, about half of which 
has been recovered, and is now, together 
with the surviving portions of the Great 
Frieze, in Berlin. Its subjects, taken 
from local Pergamene history, are of less 
interest than the Gigantomacliy. 

Tlie Amphitiieathe may be assigned to 
the beginning of the ii cent, a.d., though 
its exact date lias not been ascertained. 
The plan is elliptical, the greater axis 449 
ft., the less 403 ft. ; the arena is 167 ft. by 
85 ft. The principal arched entrances 
were at the ends of the greater axis, whicli 
lies nearly north and south. The outer 
wall had forty-two other arches, separated 
by piers as wide as tlie arches. Tliere ai-e 
about thirty tiers of seats ; the first tier 
being below the level of the soil without. 
The height of the massive piers aiul 
arches of the exterior walls reaches 85 ft. 
The seats are supported on very skilfully 
planned, rising, funnel - shaped vaults. 
The brook which flowed directly beneath 
the arena in antiquity, and was vaulted 
over, doubtless supplied facilities for con- 
verting the amphitheatre into a nau- 
machy. Tiie building, still very impres- 
sive in its mass, exliibits great technical 
excellence in its design and execution. 

The AscLEPiEUM, or Sanctuary of 
Asklepios (JEsculapius), as yet incom- 
pletely explored. Tliis Corinthian tem- 
ple, which appears to have been impor- 
tant, was approached by a monumental 
covered way starting from tlie arched 
gate beside the theatre, and extending the 
entire distance. The roadway, 12^ ft. 
wide, was bordered on each side by a 
range of piers set at intervals of 8 ft., and 
finished on the exterior side as Doric 
semi-columns. The piers were built of 
large blocks of trachvte. 



The Basilica, which has been called 
the Thermae, is the most imposing of the 
Eoman ruins of Pergamon. It was a huge 
structure of three aisles, to the east side of 
which other buildings were joined. The 
nave terminated in an apse flanked by 
two circular, tower-like, domed buildings. 
The masonry was partly of brick, partly 
of trachyte blocks, sheathed with marble 
wherever the walls were exposed to view. 
The cornices were sujiported by rich con- 
soles. The columns of the interior were 
handsome monoliths of gray and pink 
granite. The early Christians appro- 
l^riated this basilica for a church, and 
converted the two domed l)uildings into 
chapels of St. .John the Evangelist and 
St. Antipas. The breadtli of the basilica, 
including the two circular buildings, was 
over 330 ft. From these buildings a court 
nearly 700 ft. long extended toward the 
east, enclosed by a high M-all adorned on the 
outside with marble columns. To obtain 
space for this court the Selinous River was 
bridged for a distance of nearly G50 ft., a 
truly remarkable accomplishment, which 
remains perfect to this day. The bridge 
consists of two massive parallel barrel- vaults 
of 29| ft. span, each restiiig on one side on 
the bank and on the other on a continuous 
Mall in the middle of the river-bed. 

Gymnasium of the Neot, or Youths, 
of Roman date. The western portion 
formed a court about 250 ft. by 120 ft., 
surrounded by porticoes presenting four- 
teen columns on the small sides and 
twenty-nine on the others. The capitals 
are Corinthian, of manifestly Roman de- 
sign, and the workmanship is superficial. 
An inscription shows that tlie gymnasium 
was not an imperial foundation, but was 
established by private citizens of Perga- 
mon. On the slope above the N. W. cor- 
ner of the court lie the remains of a semi- 
circular structure 108 ft. in diameter. 
This was apparently an odeum, and its 
stage-structure must have stood upon the 
roof of the portico. 



286 



PERGAMON 



The Pergamene Library, instituted 
by Eamenes II., a fonndation famous in 
antiquity, and second only to tlie great li- 
brary of Alexandria, is recognized by Conze 
in four large rooms communicating on the 
west side with a number of other rooms, 
lying above the terrace of Athena. Stone 
fi'aming, secured to the walls by metal 
clamps, received wooden shelves on which 
the manuscripts were ranged. The li- 
brary was adorned with a large statue of 
Athena, and statues or busts of famous 
authors. 

Temple, presumed to be of Dionysos. 
It was Doric, prostyle, tetrastyle, of 
marble, on a stereobate of two steps, 
affording an interesting example of the 
free treatment of old Doric forms in the 
Hellenistic time. The columns, 16| ft. 
high, had twenty iiutes separated by fil- 
lets, and rested on widely projecting 
bases. The echinus is carved with leaves, 
and the upper angles of the triglyphs dis- 
play small acanthus-leaves. The soffit of 
the cornice is ornamented with diagonally 
intersecting lines and with rosettes, and 
the cyma exhibits ornament of foliage and 
tendrils and satyr masks for waterspouts. 
The dimensions are 24| ft. by 41 ft. 

Temple (Ionic), of the best Greek work, 
on a massive platform at the north end of 
the great terrace on the western slope of 
the acropolis. The walls and the ornate 
doorway are standing to about half of 
their original height. 

Temple of Athena Polias (Pallas as 
Defender of the City), on the terrace of 
the acropolis immediately above that of 
the Altar of Zeus. Only the lowest parts 
of the foundations remain in place, but 
all the architectural members have been 
recovei'ed and render possible a complete 
restoration. The temple, which was ori- 
ented north and south, was Doric, perip- 
teral, hexastyle, with ten columns on 
the flanks, and measured 42| ft. by 72 ft. 
The height of the columns was 17:| ft. ; 
their base-diameter was 2.47 ft.; the neck- 



diameter 1.98 ft. The shafts had but 
little entasis. The neck of the shafts on 
the capital-blocks is channelled, but the 
remainder of the shafts was left smooth, 
showing that the temple was never fin- 
ished. The entablature was proportion- 
ately very low, and there were two tri- 
glyphs over every intercolumniation. The 
metopes were plain, and no signs of pedi- 
ment-sculptures have been found. The 
cella had pronaos and opisthodomos, each 
with two columns in antis, and was prob- 
ably divided into two chambers. The 
date of the temple is assigned to the iv 
century B.C. 

The Terrace surrounding the temple 
was bordered on the north and east sides 
by handsome porticoes of two stories on a 
stylobate of three steps. The lower order 
was Doric, with very slender columns, and 
three triglyphs over every intercolumnia- 
tion, surmounted by a blocking-course on 
which rested the second order of columns. 
This was Ionic, but bore a Doric frieze, 
which had four triglyphs over every inter- 
columniation. In the intercolumniations 
of the second story was a solid parapet 
whose slabs were sculptured with military 
trojDhies. The north joortico, which was 
of more than double width, had an inner 
range of columns, set oj)posite every sec- 
ond column of the facade. These col- 
umns had Attic bases, smooth shafts, 
and bell-capitals of peculiar form. The 
fa9ades of the porticoes were of marble, 
and their back walls of trachyte encrusted 
with the same material, adorned by niches 
for statues, framed by small Doric and 
Ionic semi-columns surmounted by an en- 
tablature. At the south end the east 
j)ortico abutted against a massive square 
tower, adjoining which, at the back of 
the portico, was the chief entrance to the 
enclosure. This was a propylou with 
four interior columns, tetrastyle on its ex- 
terior face, which was of the same archi- 
tectural disposition as the interior por- 
ticoes, but more richly ornamented. Pro- 



280 



PEEUGIA 



pylon and porticoes are asci-ibed to King 
Eumenes II. In the Temple of Athena 
Polias were dedicated the sjioils of the 
Gauls, and the back walls of the porticoes 
bore paintings commemorative of their 
overthrow. 

The Te-Mple of Julia, daughter of 
Augustus, was a small peripteros, almost 
all of whose ai'chitectural members sur- 
vive, though no longer in position. It 
was evidently pulled down in Byzantine 
times, and its materials i;sed to strengthen 
the fortifications of the acrojjolis. Here 
they have remained, so tluit the temple, 
like that of Xike Apteros at Atliens, might 
doubtless be rebuilt. 

Temple of Trajan, or Augusteum. 
Tlie architectural remains are of great 
size, in part very well preserved, and tes- 
tify to the splendor of the temple. This 
temple, in the same manner as that of 
Atliena, was surrounded on three sides 
by porticoes of one storv, that on the 
north raised on a plain basement 13 ft. 
high. The temple was of white marble, 
Corinthian, peripteral, hexastyle, Avith 
nine columns on the flanks. The height 
of the columns was 32 ft. The cella had 
the form of a tenii^le in ant is. Between 
the consoles of the cornice bronze rosettes 
were introduced. The acroteria were rich 
antliemia su^iporting figures of Nike. 
Tlie frieze was sculptured witli Gorgon- 
heads separated by volute ornaments. 
The temple stood on a basement about 
10 ft. higli, with a flight of steps betM'een 
piers in front. Its dimensions were G5| 
ft. by 108 ft. The capitals of the por- 
ticoes are of tlie type of those of the 
Tower of the "Winds at Athens, with a 
range of acanthus-leaves below and plain 
pointed leaves above. Of two monumental 
exedras in the temple-court, one rectangu- 
lar, the other semicircular, the first dates 
from Attains II. 

Greek Thkatue. The cavea had 
about ninety tiers of scats, most of which 
are still in place. There are two cliazo- 



mata or horizontal passages of commu- 
nication, and the bounding- walls of the 
cavea are polygonal and cut it consider- 
ably short of the normal curved outlines. 
The pavement of the orchestra no longer 
exists. The lintel of its northern en- 
trance is sculptured with masks and bears 
an inscription of dedication. This thea- 
tre is ascribed by the architect Bohn, like 
the Great Altar, to the reign of Eumenes 
II. 

Koman Theatre, supported in part 
against the hillside, and ou the two Avings 
upon radial vaulted substructions. There 
appears to have been a gallery of columns 
above the uppermost tier of seats. The 
orchestra and the foundations of the 
stage-structure are silted ujj and have 
not been explored ; the stage-structure 
was adorned with Corinthian columns. 
The diameter of the cavea is nearly -400 
ft. Against the exterior of the south 
wing still stands an arched gateway of 
trachyte, corresponding to an ancient 
street. 

Tiiermje. See Basilica. 
PERUGIA (anc. Perusia), Italy. 

Arch of Augustus, so-called, an an- 
cient gate of the city, Etruscan in its 
lower portions, and of the time of Augus- 
tus above. The Etruscan part, with the 
two projecting bastions which flank it, is 
built of large blocks of travertine laid 
without cement. Above the arch, which 
is about 30 ft. high, there is a frieze with 
six little pilasters of Doric type, between 
which, in spaces corresponding to metopes, 
are circular shields in relief. Over this 
frieze there is a second arch, now blocked 
between two pilasters. The total height 
is (52 ft. The flanking bastions are 
crowned by graceful arcaded loggie of the 
XV century. 

The Cathedral, dedicated to S. Lo- 
renzo, is a Gothic churcli dating from the 
beginning of the xiv cent., but mucli 
changed and injured by modern restora- 
tions. It has a nave and aisles about 65 



887 



PERUGIA 



ft. wide, in five bays covered by four-part 
vaulting, divided by octagonal stuccoed 
brick piers, and carrying pointed arches. 
The transejjt arms project by a single nar- 
row bay beyond the aisle walls. The 
choir is square, with a polygonal apse and 
a square chapel on either side, and behind 
the northern chapel rises a small bell- 
tower. The exterior has been much trans- 
formed ; many of the pointed windows 
have been walled up. The unfinished 
front has a single central doorway and a 
wheel window over it, once filled with 
stained glass. A side porch opens into 
the aisle on each flank, and by the side of 
the northern porch is an exterior pulpit 
corbelled out from the wall, its sides 
panelled and decorated with tracery and 
mosaic. 

The CoLLEGio DEL Cambio, the Hall of 
the Bankers or money-changers, is a small 
apartment adjoining the Palazzo Vecchio 
in the Oorso, scarcely more than 16 ft. 
wide and 24 ft. long, remarkable for the 
beauty of its pictorial and other decora- 
tion. The walls are wainscoted with 
panels filled with delicate wood-inlay and 
Eenaissance carving of great excellence, 
and covered above with frescoes of sibyls, 
prophets, historical and allegorical figures. 
The vaulted ceiling is also covered with 
frescoes of similar character, varied by 
arabesques. Opening from this room is 
a small chaiiel or oratory of nearly the 
same size, and decorated in a similar 
manner. All this decoration is the work 
of Pietro Perugino and of his pupils, 
Raphael perhaps included, and dates from 
the latter half of the xvi century. 

Convent of Sta. Giuliana. This 
Cistercian nunnery is a fine example of 
early Italian Gothic. Its buildings re- 
main almost entire, though mutilated by 
vandalic use as a military storehouse and 
hospital. The church has a simple nave 
with square apse, and is built of stone. 
To its left is the entrance to the fore- 
court, surrounded by halls, some of which 



are still arched, but have wooden roofs. 
Opposite the apse of the church the inner 
court or cloister is reached, one of the 
most perfect in Italy, and round it are 
grouped several interesting vaulted struct- 
ures. The cloister has five wide pointed 
arches on each side, supported on octa- 
gonal columns with Tuscan foliated capi- 
tals. The low and wide groined vaults 
have pentagonal ribs that rest on consoles 
against the wall. Each side of the cloister 
measures 110 ft. The second story is 
perfectly preserved, which is almost never 
the case, and is more elegant in its pro- 
portions. A broad blind pointed arch 
corresponds to each bay below, and within 
it three pointed arches are supported on 
double marble shafts placed on a line with 
the wall. The material is brick. Round 
the cloister are grouped the monastic 
buildings. The capitulary hall divided 
into three aisles of five bays by eight col- 
umns supporting ribbed groin-vaults, is 
especially good. The same vault is also 
used in all the other halls, including re- 
fectory, mortuary chapel, kitchen, etc. 
Underneath the kitchen is a cellar with 
tunnel-vault. To the right rises a fine 
bell-tower. The cloister and several of 
the halls, especially the chapter-house, are 
still decorated with frescoes, some of the 
XIV and xv cents., but a large part of the 
second half of the xiii century. The nun- 
nery was approved after its construction 
by Pope Boniface lY., in 1253, which 
gives the date of the buildings. Its archi- 
tecture is worthy of careful study, not 
only for its beauty, but because it is a fine 
example of the second period of the Gothic 
form of Italian Cistercian architecture, 
during which the French forms were 
thrown off and native forms of construc- 
tion and decoration developed. [A. L. 
F., Jr.] 

PoNTE MaCtCtIORE, the great fountain 
in the Piazza del Papa, the square be- 
tween the cathedral and the Palazzo Pub- 
blico, is one of the finest in Europe. It 



288 






MILAN—PIAZZA DEI MER.CANTI 



^tiv-aS-aal^. ' 



PERUGIA 




Fig. 141.— Perugia, Fonte Maggioic. 

dates from the last quarter of tlie xiii 
cent., and consists of two great polygonal 
basins of marble, the lower some 30 ft. in 
diameter, raised on four surrounding steps, 
the upper lifted on columns rising out of 
the water. Each basin has twenty-four 
sides, the angles of the lower basin marked 
by grouped colonnettes of varied and del- 
icate design, those of the upper by figures 
nearly detached, aiul the panels of the 
lower basin charged with admirable bas- 
reliefs by Giovanni and Niccolo I'isano. 
From the centre of the upper basin rises a 
massive column of bronze sup})orting a 
third basin in the form of a tazza, also of 
bronze, in tlie middle of which stands a 
group of throe water-nymphs by Eosso. 
{See Fifi. IJfl.) 

The Okatory of S. Berxakdino is a 
small chapel belonging to one of the nu- 
merous confraternities, and remarkable for 
its beautiful early Renaissance facade, so 
small as to be scarcely more than a great 
doorway arch with its flanking ])ilasters 
carrying an entablature and pediment. 
The arch is deeply recessed, enclosing 
square twin doorways surrounded by ar- 
chitraves bearing an arabesque ornament 
in relief, and springs from bold square 
I)iers, each of which bears on its face two 
pedimeuted niches containing statues. 



The jambs of the arch are en- 
riched with niches and reliefs 
flanked by classic pilasters ; its 
soffit is coffered, and the tym- 
panum bears in relief the statue 
of the saint surrounded by a 
nimbus, and flanked by flying 
angels and winged cherubs. In 
the pediment is a group repre- 
senting the Saviour throned, 
witli adoring angels and cher- 
ubs. The fagade is of red mar- 
l)le, the architectural decora- 
tions of ■white, or yellow, the 
sculpture partly of white mar- 
ble and pai'tly of glazed terra- 
cotta, white on a blue ground. 
The whole decoration is so exquisite in 
feeling and so admirable in execution as 
to make this small fa9ade deserving of a 
place among the highest works of the 
Renaissance. The sculpture is attributed 




Fig. 142. — Perugia, S. Bernardino. 



-iSId 



PERUGIA 



to Agostino Ducci, and the frieze bears 
the date 1461. (See Fig. 11,2.) 

The Palazzo Pubblico, the old G-othic 
muuicipal palace of the xiv cent., is much 
patched and altered in parts to adapt it to 
its modern uses, but retains its principal 
features substantially unchanged. It is 
a rectangular building in two principal 
stories, with two fa9ades, the longer front- 
ing the Corso or main street of the town, 
the other the Piazza, opposite the cathe- 
dral. In the longer fayade is a broad and 
high round-arched recessed doorway, and 
on its left a high arch by which a narrow 
street is taken through the building and 
down the hill in the rear. Orer the arch 
a simple bell-tower of no great height rises 
from the roof. The lower story is an ar- 
cade of plain pointed arches concealed 
"where it fronts the square by a monu- 
mental stair leading to an arcaded plat- 
form from which the second story is en- 
tered. The windows of this story are 
triple pointed openings divided by slender 
shafts and enclosed in square panels. 




Fig. 143.— Perugia, Pal. Pubblico. 

Above these is a broad space of blank wall 
representing a mezzanine story, with open- 
ings only on the court, and above this 
again the range of windows of the prin- 
cipal story, consisting of triple pointed 



openings under a round bearing-arch with 
traceried head, and covered each by a low 
gable. On this floor are the picture gal- 
lery and the public library. The wall is 
finished by an arched corbel-table and a 
fringe of restored battlements. {^See Fig. 
US.) 

SS. AxGELl, an early Christian building 
of the T cent., restored in the xiii cent., 
but retaining some of its ancient features. 
It is a circular biiilding, perhaps origin- 
ally a baptistery, with a central ring 
about 45 ft. in diameter, enclosed by sis- 
teen antique columns, arranged in pairs, 
alternately larger and smaller, supporting- 
round arches. The surrounding aisle is 
now enclosed by a wall in which are to be 
seen portions of a second circle of twenty- 
eight columns, which indicate that the 
building had originally an outer aisle in 
accordance with the common plan of the 
early baptisteries. This has disappeared, 
and in its jolace were added four project- 
ing wings, those on the west, north, and 
south square in plan, that on the east a 
semicircular apse. Over the 
central ring of columns the wall 
is carried up above the roof of 
the surrounding aisle, pierced 
with windows, and covered with 
a low pitched conical roof. The 
west end has a fine Gothic door- 
way, of the XIII or xiY century. 
Sta. GirLiAXA. See Convent. 
S. PiETRO DEI Casixexsi, an 
interesting basilican church 
probably dating from the Ti 
cent., with a Gothic choir added 
j^erhaps in the xiv cent., for- 
merly attached to a Benedictine 
monastery. It has a nave 36 ft. 
wide, with aisles vaulted in 
square bays and divided from the 
nave by two rows of nine antique Ionic col- 
umns of red granite and gray marble carry- 
ing arches, a transept not projecting beyond 
the aisle-walls, and a square groined vault 
over the crossing, with a polygonal apse 



290 



PESAEO 



also groined. The flat coffered ceiling 
of the nave was added by Benedetto da 
Montepulciano in 1553, and its unjjierced 
walls are covered with paintings 
by Aliense. At the west end of 
the church is a square cloister, 
with vaulted arcades on Tus- 
can columns. The church con- 
tains some interesting pictures 
by Perugino, Kaphael, Parmeg- 
giano, and other masters. Tlie 
choir-stalls are remarkable for 
their exquisite wood - carving. 
(jSee Fig. 1U-) 
PESARO, Italy. 

Palazzo Pkefettizio, the 
ancient palace of the dukes of 
Urbino, built at the beginning 
of the XVI cent., from the de- ^ 
signs of Bartolommeo Genga. It 
has a fagade about 135 ft. long 
in two stories, of whicli the lower is an open 
arcade of six round arches springing from 
low piers of rustic stone-work, while tlie 
upper has a perfectly plain wall, with five 
rectangular windows enclosed by Corintlii- 
an engaged columns supporting an ental)- 
lature. A balcony projects from the mid- 
dle window. The front is crowned by a 
strong simple coi-nice. The interior con- 
tains some tine rooms, notably a great hall 
50 ft. wide and 130 ft. long, with a deep- 
ly panelled wooden ceiling decorated witli 
paintings. 

Villa Monte IiiPEurALE, an extensive 
country-house of tlio dukes of Urbino, 
built in the early part of the xvi cent, 
from the designs of Girolamo Genga, but 
never completed, and now falk'ii into de- 
cay. It is built on the slope of a moun- 
tain, and its plan is skilfully adapted to its 
site. Its fagade, about IGO ft. long, is im- 
posing, consisting of a long centre and two 
projecting wings ; tlie former having iu 
the basement story an open vaulted arcade 
of five round arches, and in the principal 
story an order of coupled Ionic pilasters 
on a balustrade course, with niches and 



panels in the intervals. The great en- 
closed court is on the level of this story, 
and at a still higher level in the rear is a 




large square garden. The interior con- 
tains many lialls, loggias, and state apart- 
ments, elaborately decorated and painted, 
and a noteworthy winding staircase. 
PESCARA. See Casauria. 
PETRA, Arabia. 

CoRiNTiiiAX Tomb, on the east side of 
the site. The lower story has eight engaged 
smooth Corinthian columns on a high 
pedestal. Doors open in the four northern 
intercolumniations. Above the entabla- 
ture is a sort of attic carved with short 
pilasters supporting a second entablature, 
and in the middle two broken pediments. 
The upjier story is of the type of that of 
the Treasury of Pharaoh {q. v.), having on 
each side a rectangular projection with 
two engaged smooth Corinthian columns 
and broken pediments, and in the middle a 
circular edicule with similar columns and 
a conical roof ending in a Corinthian 
capital. The entablature of the upper 
story is Doric. 

The Dtu (Monastery), a rock-tomb re- 
sembling the Treasury of Pharaoh {q. v.). 
The lower story contains a door with a low 
triangular pediment, framed between en- 



291 



PETRA 



gaged columns,, ovitside of wliicli on each 
side are two engaged columns and an 
angie-j)ilaster with, unfinished cajjitals of 
Doric outline. In each lateral intercol- 
umniation is a rectangular niche with a 
semicircular pediment ; the entablature 
is Corinthian. The ujjper story consists of 
the central circular edicule, with conical 
roof and terminal capital and urn, between 
two rectangular projections with broken 
pediments, as in the Treasury ; in addition 
there is on each side a projecting pier. 
The entablature is Doric, the columns Co- 
rinthian, with capitals unfinished. The 
three edicules of the upper story have rec- 
tangular niches for statues. The walls of 
the interior chamber, 37 ft. by -iO ft., are 
bare, except for one niche. This monument 
is of larger proportions than the Treasury, 
its width being 156 ft., and its height 
about 100 ft. The upper story is in al- 
most perfect preservation, as its compara- 
tively isolated situation has ^^I'otected it 
from the intentional destruction of the 
Bedouins. There is a broad levelled plat- 
form before the tomb. 

I^ECROPOLis, distributed in the rock- 
sides of the gorges and steep hills which 
border the valley. The tombs are in great 
numbers, many of them with elaborately 
ornamented fagades, some left unfinished, 
and thus exhibiting the method of working 
from the top downward, many so high up 
in the faces of the cliffs that they must 
always have been approached by ladders. 
The interior chambers are in general plain, 
but some of them are ornamented. One 
is surrounded Avith engaged Doric columns 
with an entablature ; there are rectangu- 
lar niches in the intercolumniations. Some 
are of the type in form of an edicule en- 
tirely detached from the original rock, 
like those in the Kedron Valley at Jeru- 
salem. The style is in general debased 
and florid Eoman, profoundly modified by 
Oriental (Phoenician) influences. "With 
but few exceptions the surviving remains 
of Petra, aj)art from indistinguishable 



masses of ruins, are hewn from the living 
rock, a soft sandstone. The efiect of the 
architecture is greatly enhanced by the 
wonderful natural coloration of the stone, 
ranging through brilliant red, pink, brown, 
yellow, blue, purple, gray, black, white, 
and dull green, often marvellously streaked 
and shaded, and by the remarkable wild- 
ness and desolation of the surrounding 
region. Some of the tombs have served, 
since Petra disappeared from history, for 
other than their original purpose ; an in- 
scrijjtion shows that one was dedicated to 
the cult of Mithras ; others were conse- 
crated as Christian chapels, and others 
came to be inhabited as dwellings. The 
funereal urn is a frequent and characteris- 
tic ornament of the tombs. On the east 
side of the valley is a tomb with a Latin 
inscrijDtion to Quintus Prajtextus Ploren- 
tinus. Another bears a Greek inscri23tion. 
[Some of the chief tombs of the necropo- 
lis, commonly called by other names are 
here treated separately.] 

Pharaoh's Palace, so - called, is a 
large square building. The walls, about 
8 ft. thick, with holes for wooden floor- 
beams indicating several stories, survive 
almost entire. The north front had a 
portico of columns, now destroyed. On 
the east side is a large door, flanked by 
pilasters with enriched capitals. The 
cornice is rich, and the frieze bears tri- 
giyphs and rosettes ; all this ornament is 
in stucco. The style is late Roman. 

Theatke, the chief surviving monu- 
ment of Petra. The cavea is entirely 
hewn from the rock, and has thirty-three 
tiers of seats. Above the auditorium 
open several rock-hewn chambers. The 
brook now flows through the remains of 
the stage-structure. The diameter of the 
orchestra is about 11-4 ft. 

Tomb, in three stories, near the Corin- 
thian Tomb, in the east wall of the val- 
ley. The lowest story has four doors 
framed in Corinthian pilasters, which 
were left unfinished. The two outer 



292 



PHIGALEIA 



doors have round pediments above an en- 
tablature, the two middle doors triangu- 
lar pediments. In the second story are 
eighteen unfinished engaged Ionic col- 
umns, and cuttings in the rock in the inter- 
columniations indicate that it was intend- 
ed to form an open loggia here. Above 
the entablature of the second story comes 
a barbarous attic of agglomerated pedes- 
tals and capitals in several tiers ; and the 
third story was designed to have eighteen 
columns, like the second. This third 
story is now almost entirely broken away ; 
it was doubtless intended to be in part 
built up of masonry, as its heiglit must 
have exceeded, if complete, that of the 
original rock. 

The Tkeasl'ry of Piiauaoii (Kliaz- 
neh Firaun), so-called, is the most beau- 
tiful rock-tomb of Petra. In the lower 
story is a porch of six unfluted Corinthian 
columns, the four central ones projecting 
slightly and surmounted by a i)edimcnt. 
In the upper story there is on each side a 
broken pediment and cntal)hiture resting 
on two untliited Corintliiau columns, and 
in the middle a circular Corinthian edi- 
cule with four similar columns, and a 
conical roof terminating in a Corinthian 
capital and a tinial urn, all engaged at tlie 
back in the rock. The entablature is car- 
ried across the rock at the back, between 
the central edicule and the side structures. 
The two upper side niclies between the 
columns are carved witli trophies in I'e- 
lief ; the other spaces between columns in 
the upper story bear human figures, most of 
them of women, on pedestals ; the spaces 
between the side columns of the lower 
story are also carved witli figures, now 
much nmtilated. Tliere are nine acro- 
teria, most of them in the form of eagles, 
now broken. Tlie friezes and the lower 
pediment are delicately sculptured. In 
the lower story an open vestibule and 
I'ichly framed door gives access to a 
plain chamber about 30 ft. square. The 
total heiijht of the monument is about 85 



ft., its width 96 ft. The style of the 
sculpture seems to indicate about the 
same date as the monument of Baalbek. 
The beauty of the effect is much enhanced 
by the rich red color of the stone. 

Pharaoh's Triumphal Arch, of late 
Roman style, led to Pharaoh's Palace, with 
which it was connected by a paved road, 
and a colonnade. The front is decorated 
Avitli sculpture and has three archways. 
PHIGALEIA, Arcadia, Greece. 

The Temple of Apollo Epicurius 
(tlie Helper or Protector) at Bassas, out- 
side of Pliigaleia, on the slojie of Mt. Ko- 
tylion, more than 3,000 ft. above the sea, 
between two summits covered with an- 
cient oaks, was rebuilt after -1:30 B.C. under 
tlie direction of Ictinus, in gratitude to 
Apollo because he had spared the district 
from the j)estilenee with which the rest 
of Greece was afflicted at the beginning of 
the Peloponnesian War. For beauty of 
material aiul workmanship it was reputed 
to surpass all the temples in Peloponnesus, 
exce])ting that at Tegea. The temple is 
tlie best preserved of any in Greece, with 
the exception of the Thescum. It faces 
toward the north instead of toward the 
east. Three columns only of the peristyle 
are wanting, and the bases of the columns 
in a It/ is, the architraves and the pavement, 
are still in place. It is a JJoric hexastyle, 
})eripteros, with fifteen columns in each 
Ihink and two between the antiB in the 
pronaos and opisthodomos on a stylobate 
of three steps ; the ground plan is 121 ft. 
by 43 ft. The cella, too narrow for in- 
dependent rows of columns, had on each 
side five piers projecting from the wall to 
support the timbers of the roof and termi- 
nating on their external faces in Ionic 
three-quarter columns. The material is 
a bluish-white limestone, the ornamental 
parts being in white marble, the roof tiled 
with marble slabs. The entire sculptured 
frieze in high relief which surrounded the 
interior of the cella is now in the British 
Museum. It is 101 ft. long and 2 ft. 1 



aas 



PHILADELPHIA 



in. liigh, and has plainly been sliortened at 
several places to make it fit the building. 
Upon half the blocks are subjects from 
a contest of Centaurs and Lapiths, while 
the othere are carved with scenes from 
the war of the G-reeks and the Ama- 
zons. The designs are vigorous and the 
execution good, but the majestic repose of 
the Parthenon sculptures has given place 
to violent and unrestrained action. There 
were six sculptured metopes over the in- 
terior porticoes of both pronaos and opis- 
thodomos. Some fragments of a colossal 
acrolithic statue were found on the floor 
of the temple. It is plausibly contended 
that the only real cella of this temple is 
the small rear chamber with the door 
opening toward the east, and that the 
larger chamber of the temple Avas never 
roofed over, but formed an open court 
decorated with its range of Ionic pilasters 
and its unique interior frieze. From this 
point of view the temple was, in a sense, a 
hj'pgethral structure, as hypaethral was un- 
derstood by those who believed that many 
large Greek temples were in part roofless. 
PHILADELPHIA. See Ammd7i. 
PHILIPPI, Macedonia, Turkey. 

Greek Theatke, shown by its relation 
to the Hellenic ramparts to be contempo- 
raneous with the foundation of the city. 
The plan is greater than a semicircle. 
The cavea is in part rock-hewn ; the 
np23er part appears from its masonry to be 
a Eoman addition or restoration. The 
radius of the cavea is 109| ft., the dis- 
tance from the stage to the limit of the 
cavea, 152 ft. The back wall of the 
stage with its three doors is shown by its 
cemented masonry to be a Roman recon- 
struction. On the side toward the town 
the cavea is bounded by a massive wall in 
large rectangular blocks over 7 ft. thick, 
the finest piece of Hellenic masonry on 
the site of Philippi. 
PHILIPPOPOLIS. See SJioMa. 
PIACENZA (Plaisance), Italy. 

The Cathedral (Sta. Giustina) is a 



Lombard cruciform churcli of character- 
istic design, but with some unusual feat- 
ures. The fa9ade is of marble and is 
divided vertically into three compartments 
by two slender round shafts rising from 
the ground nearly to tlie cornice. In 
each compartment is a projecting porch 
of two stories, that in the centre larger, 
but all substantially alike, consisting of 
two round arches carried on single col- 
umns resting on grotesque animals, the 
upper arch covered by a low gable. These 
arches are remarkable as standing and ap- 
parently firm without the usual tie-rod, 
though their support is even more fragile 
than most. An ojDen gallery of graceful 
arches on columns runs above the side 
porches ; above the central porch is a 
large and fine rose - window filled with 
tracery of an evidently later date than the 
front. A single low gable covers the front, 
and has an open -arched gallery bdneath 
following the cornice. A square campa- 
nile rises out of the roof over the north 
compartment of the front, with a belfry 
with four arched openings on each face, 
and a round sj^ire built of brick which 
reaches the height of 300 ft. The sides of 
the church are simple, with single round- 
headed windows, square buttresses of 
slight projection, and open eaves-galleries. 
The transept arms terminate each in three 
apses, the choir in one, and an octagonal 
lantern of brick with a low roof covers the 
intersection of nave and transept. The 
interior is in some respects peculiar. The 
nave arches, eight in number on each 
side, are continued across the transept, 
and the three arches opening into it are 
much higher than the rest. Nave and 
aisles are vaulted, the former in bays 
which include two arches, the vaults be- 
ing six-part and those of aisles and tran- 
sept four-part. Beneath the choir is a re- 
markably fine crypt of cruciform plan, and 
a vaulted roof carried on a great number 
of small columns. The church, founded 
in the ix cent., after being twice destroy- 



294 



PIACENZA 



ed and renewed, was rebuilt in its present 
form in 1233. 

The Palazzo del Commune, or Town- 
hall, sometimes called the Broletto, is one 
of the finest examples of an interesting 
class of civic buildings of North Italy, of 
which conspicuoi;s examples are to be 
found at Como, Brescia, Orvieto, and 
other towns. It is a rectangular building 
with two high stories, the lower of white 
marble, varied by occasional courses of 
red and gray, the outer walls carried on 
open pointed arches springing from sim- 
ple square piers, the ceiling vaulted in 
brick with stone ribs. The upper story is 
of brick, sejoarated from the lower by a 
thin string-course, and iiierced by iiarrow 
arched openings in groups of three and 
four, some with round heads and some 
with pointed, divided by coupled marble 
shafts of great elegance, and enclosed by 
large rouiul beai'ing-archcs witli flat broad 
decorated mouldings, tlie tympana en- 
riched with a diaper of brick. A fine ar- 
caded marble cornice finishes this story, 
above Avhich rise very bold forked battle- 
ments in brick. On the ends of the build- 
ing the cornice and battlements are carried 
up into a low gable with a Avhcel window. 
The angles are marked by strong square 
battlemcnted turrets. Tlie lower story is 
an open loggia, intended to serve for an 
exchange, as was the case with the IroMti 
of many Italian towns. The date of the 
commencement of the work, 1281, is in- 
scribed on one of the stones of the front. 

S. Antonino. a cruciform Lombard 
church of brick, formerly the Cathedral, 
with a singular plan, the ordinary arrange- 
ment being reversed and the transept near 
the west end, with the nave, but not the 
aisles, projecting Avestward from them in a 
single square bay. At the cast end, nave 
and aisles terminate in round apses. The 
whole church is vaulted, and at the inter- 
section of nave and transept eight col- 
umns and four corner piers carry a lantern 
which becomes an octagon above the vault 



of the nave, and which might rather be 
called a tower, since it rises to twice the 
height of the church roof, with four sto- 
ries of arched windows — those of the three 
upper stories coupled — and a low octago- 
nal roof. The aisles have flat external but- 
tresses, with narrow lancet windows be- 
tween, with cusped heads. The church 
was dedicated in 1014. A large brick 
porch or fa9ade, called II Paradiso, was 
added to the north transept in the middle 
of the XIV century. 

S. Sepolcro, a Eenaissance church, 
built by Bramante in 1531. Its plan is 
interesting and picturesque : a nave about 
30 ft. wide divided into four bays, of 
which the first and third are square and 
covered by groined vaults, the second and 
fourth narrow and covered by barrel- 
vaults. The aisles, half the width of the 
nave, arc divided into bays corresponding 
with those of the nave, tlie larger bays be- 
ing covered by barrel-vaults and the small- 
er by little domes. A range of chapels 
with apsidal ends flanks each aisle. Each 
transc2)t arm has two bays with barrel- 
vaults, an apsidal end, and a small ajjse in 
the eastern wall opposite the aisle. The 
square at tlie crossing is covered by a 
groined vault like those of the nave. The 
choir has two rectangular bays with barrel 
vaults and an apse. This church Avas ap- 
propriated by the Austrians as a military 
hospital during their occupation of north- 
ern Italy, and has been closed since their 
departure. 

S. SiSTO, a fine basilican church of vari- 
ous dates and styles, but now mainly Ee- 
naissance. Its plan is remarkable. Tlie 
church is preceded by a fine atrium or 
fore-court enclosed by arcades with Ionic 
columns, and square bays with groined 
vaults. From this atrium the church is 
entered through a western transept with a 
round dome covering the central compart- 
ment. The nave, about 30 ft. wide, is 
covered by a barrel-vault. Its length is 
about TO ft. between the western and east- 



295 



PIENZA 



ern transepts. It has double aisles on 
each side divided by Ionic columns of 
gray granite into square bays, each covered 
by a small flat dome. The outer aisles 
are flanked by an equal number of small 
chapels, each consisting of a flat apse 
lighted by two windows. The eastern 
transejit ends in apses to the north and 
south, and over the crossing is a high 
round dome with a colonnaded drum. 
The inner aisles are continued on either 
side the choir by a square bay with an 
eastern apse. The choir is of great length, 
as long indeed as the nave, and is in three 
square bays with barrel-vaults divided by 
transverse arches, and with a square east 
end. The original church, which appears 
to have been built about 874, was burned 
in 1260 and rebuilt in a style of pure 
Gothic, says Mothes. A new choir ■was 
built in 1529, and a new front in 1590. It 
was as an altar-piece for this church that 
Eaphael painted the so-called Sistiue Ma- 
donna, now at Dresden. 
PIENZA, Italy. 

The Cathedral, built for Pius II. be- 
tween 1459 and 1463, by one Bernardo 
of Florence, probably Bernardo Eossel- 
lino, is one of the earliest works of the 
Eenaissance, and retains much of the feel- 
ing of the earlier styles. It is a small 
church, about 130 ft. long and 95 ft. across 
the transe^^t. The simj^ly outlined front 
shows a curious conflict between horizon- 
tal lines and the vertical, being divided 
horizontally by an order of small Corin- 
thian columns on pedestals in the lower 
story and by the horizontal cornice of 
the great pediment that covers the whole 
front, and vertically by broad pilasters 
that run up through the ]3ediment and 
break into its raking cornice. The pilas- 
ters are flanked by the detached Corinth- 
ian columns, which in the second story 
carry blind round arches. Below are 
three square-headed doors, and above, a 
round window between two niches — in 
the pediment the papal arms in a round 



j)anel. Under the single gabled roof are a 
nave, aisles, and transept of equal height, 
divided by clustered Doric columns carry- 
ing blocks of entablature, on which rest 
the round arches and pointed vaults. The 
east end is half an octagon, inclosing the 
two rectangular bays of the choir flanked 
by oblique chapels. 

Palazzo Piccolomini, a Eenaissance 
palace of great size built for Pius II., in 
1462, by Bernardo Eossellino. The build- 
ings surround three sides of a great court- 
yard with vaulted arcades, the fourth side 
being closed by a wall, on the outer face 
of which toward the gardens are three 
stories of arcades answering to the stories 
of the palace. The principal facades, 
strongly resembling that of the Palazzo 
Eucellai in Florence, have an order of flat 
engaged pilasters in each story, the lowest 
story with a simple square doorway break- 
ing a range of small square windows on 
each face ; the upper stories with a large 
two-light window in every interval, under 
a bearing arch of strongly marked vous- 
soirs. The entablatures are small and 
thin, except tliat of the upper order, 
which makes a vigorous cornice. The 
interior court is very attractive, with a 
round-arched arcade on the flrst story, a 
second story with broad square windows, 
and an open loggia above — all the wall 
surfaces being elaborately painted in geo- 
metrical patterns. 

Palazzo bel Pretorio, the old Town- 
hall of Pienza, built about 1475, by order 
of Pius II., of the Piccolomini family, 
and doubtless by Eossellino. It has an 
interesting and graceful facade, about 
60 ft. long, in two stories, the flrst an 
open loggia with three round arches 
springing from stout Ionic columns, the 
second with round-arched two-light win- 
dows, the arches springing from pilasters 
and divided by a slender column. Be- 
tween the two stories is a broad frieze, 
and at the angle of the front rises a fine 
clock tower, of which the belfry stage has 



296 



PIETAS 



in each face a single long round - arched 
opening. It is crowned by a bold ar- 
caded corbel-table, above which is a 
smaller upper stage with a similar ter- 
mination. The whole front, except the 
upper half of the tower, is covered with 
stucco and painted with elaborate decora- 
tions. 

PIETAS JULIA, See PoJa. 
PINAKA (Minara), Lycia, Asia Minor. 

Theatre, excavated in the side of a 
woody hill fronting the city. The interest- 
ing cavea is all but perfect, even to the 
sloping tops of the end walls of the wings. 
Several of the doorways of the back wall 
of the stage are standing. The exterior 
diameter is 173 ft. There are impressive 
remains of the city walls, in polygonal 
masonry of very large stones, with gates 
formed of three huge monoliths. Foun- 
dations of several buildings are in the 
same masonry. There is a very extensive 
and interesting necrojiolis ; some of the 
rock-tombs, whose fa9ades imitate wooden 
architecture, are richly sculjitured. 
PISA, Italy. 

The Baptistery is a circle of 99 ft. 
interior diameter, with an inner ring of 
twelve arches about 00 ft. in diameter, 
supported in the first story on eiglit col- 
umns with Corintliian capitals and four 
polygonal piers, and surrouiuled by a cir- 
cular aisle about IG ft. Avide, in two stories, 
the lower covered by four-part vaulting, 
the upper by a barrel-vault. Over the 
upper arches rises a high twelve-sided 
pyramidal roof originally open to the sky, 
but now ending in a small luMuispherical 
dome. In tlie centre of the floor stands 
a marble font, octagonal, 12 ft. in dia- 
meter, its sides panelled and sculptured 
with great delicacy, raised on three broad 
steps, of which the faces are decorated witli 
a marble inlay. The hexagonal marble 
pulpit, justly esteemed as one of the most 
admirable works of early Italian art, is 
the work of Niccolo Pisano, and dates 
from 1260. It is supported on a group 



of columns, the shafts of various kinds of 
polished granite and marble, three of 
them resting on the backs of lions, bear- 
ing six round cusped arches with sculpt- 
ured figures between and in the sj)an- 
drels ; and the faces of the hexagon above 
are filled with figure subjects in high re- 
lief of the greatest beauty. Tlie exterior 
is of various ages and stjdes. It is in three 
stages, of which the first is a blind arcade, 
exactly answering to that of the cathe- 
dral, four of the arches filled with door- 
ways with scul2)tured lintels and tymioana, 
the others containing each a small round- 
headed window. The second and later 
stage is an arcaded gallery like those of 
the front of the cathedral, but the arches 
divided into pairs, each covered by a high 
crocketed gable enclosing a niche con- 
taining a statue or group. Between the 
gables, which are crowned by statues, tall 
pinnacles rise. Thus far the outline of 
the building is circular. The third stage 
is a polygon of twenty sides, the angles 
marked by pilasters rising into pinnacles, 
and each side occupied by a round-arched 
window with two pointed and cusjoed 
lights, covered l)y a high gable with 
crockets and finial. Above this is a do- 
decagonal dome of brick, which abuts 
against the inner pyramidal roof at three- 
quarters of its height, the remainder of 
the roof projecting and having the effect 
of a rude closed lantern. The angles are 
marked by ribs of marble ornamented by 
crockets. The baptistery was founded 
in 1153. Its architect was Dioti Salvi. 
The date and the name are both inscribed 
on the interior piers. The work being 
interrupted some years later by lack of 
funds, a general contribution was asked 
for from the citizens in 11G4, when it is 
recorded that tliirty-four thousand fami- 
lies gave each the sum of one soldo. A 
second inscription, dated 1278, records the 
rebuilding " de novo," and doubtless con- 
cerns the changes in tlie upper pai-ts. 
The Campanile of the cathedral, com- 



297 



PISA 



monly known as tlie Leaning Tower^ is 
one of the richest and most striking of 
Italian bell-towers, a round tower 53 ft. 
in diameter and 180 ft. hiffh. Its desio-n 




Fie. 145.— Pisa, Cathedral and Tov 



is in exact harmonj- with that of the 
cathedral, consisting of a series of super- 
imposed arcades, of Avhich the first, about 
35 ft. high, is composed of fifteen blind 
arches springing from engaged shafts with 
Corinthian capitals, the arch heads filled, 
as in the cathedral and baptistery, with 
lozenge-shaped inlays of colored marbles. 
In one of the intervals is a square door- 
way with a high entablature, with its 
frieze decorated with a marble inlay, and 



coTcred by a high bearing-arch with re- 
liefs. This arcade is surmounted by six 
open arcaded galleries exactly similar in 
design, each consisting of thirty narrow 
round arches carried on 
tall columns, with caj)i- 
tals of various kinds, 
whose abaci are stayed 
to the walls behind by 
flat lintels. The inner 
wall of the gallery a])- 
pears uncovered in the 
eighth and final stage as 
a belfry, its diameter re- 
duced to 38 ft., with six 
broad open arches, 
flanked by columns sup- 
porting an arched corbel- 
table under the cornice. 
A second inner wall is 
carried as high as*the 
upjiermost gallery, ' and 
between the outer and 
inner walls a stair of easy 
ascent gives access to all 
the stories of the tower. 
No floors remain below 
that of the belfry stage. 
The external walls and 
galleries throughout are 
built of white marble, 
the upper and lower 
stories being striped with 
black. The tower was 
begun in 1174, nearly 
sixty years after the 
completion of the ca- 
thedral, and about twenty years after the 
great toAver of St. Mark's at Venice. 
Its ai'chitect was Bonanno, a Pisan, and 
already distinguished by earlier Avork in 
this town. It has been argued that the 
tower was intended to lean, a gratuitous 
affront to the builders which is set aside 
b}^ examination either of the structure or 
its history. Great care appears to have 
been taken Avith the foundations, Avhich 
rest on a multitude of piles, but the evi- 



S98 



PISA 



dences of progressive and dangerous set- 
tlement a^jjjsar at as early a stage as the 
first gallery, above which point there was 
a constant effort to correct the ever in- 
creasing inclination. After the comple- 
tion of the third gallery the work appears 
to have been suspended for nearly sixty 
years. It was recommenced in 1234 un- 
der William of Innsbruck. The floor of 
the fourth gallery was then 11 in. out 
of level, in sj^ite of corrections which had 
been already made below. These cor- 
rections were continued by making the 
columns on the south side of the fourth 
gallery about 5 in. longer than those on 
the north side, and the same method 
was adopted in the fifth and sixth galler- 
ies. At this point there was a second sus- 
pension of the work, and the belfry was 
added in 1350 by Tliomas of Pisa. ' The 
present inclination is about 13 ft. from 
the vertical. {See Fig. 1^5.) 

Tlie Oami'o Santo is properly to be re- 
garded as the cloistei- of the cathedral. 
The Pisans, returning from the Holy Land 
after the second crusade under their bisli- 
op Lanfranchi, about 11.S8, brought witli 
tliem a great quantity of earth from the 
Mount of Calvary, amounting as has been 
asserted to five hundred ship-loads — per- 
haps to a tcntli of that. Tliis was deposit- 
ed in the neigliborliood of the cathedral, 
where a cemetery was established. When 
the enclosui'e was begun is not clear, but 
an inscrijition records that in 12T8 the work 
was carried on under Giovanni Pisano. 
It is a long quadrangle, measuring about 
•415 ft. in length aiul 138 in breadth. 
The enclosing wall, apparently older than 
the rest and nearly 30 ft. higli, is faced on 
the side next the square with a blind ar- 
cade of tall round arches with simply 
decorated archivolts, springing from tliin 
pilasters. It has three square doorways ; 
over the central one is set a later Gothic 
shrine of delicate design, under which is 
a group of sculpture by Giovanni Pi- 
sano representing the Virgin and Child 



throned, with adoring figures. The quad- 
rangle is lined with a continuous corridor 
about 35 ft. wide, jDresenting toward the 
court a series of sixty-two round arches of 
12 ft. span, springing from rather slender 
square piers, the openings filled with 
delicate mullion shafts and tracery of a 
distinctly Gothic character, p)i'obably of 
the XV cent., said to have been once 
glazed with stained glass, but now quite 
open. The arcade rests on a pedestal 
course, and is crowned by a light deco- 
rated cornice. The material is white 
marble, the piers and arches striped with 
black and the whole comjiosition is of ex- 
treme elegance. The decoration of the 
corridors is very interesting, the walls 
being covered with the original frescoes of 
Giotto, Andrea Orcagna, Benozzo Gozzoli, 
and other early painters of less distinction, 
many of them in fair preservation. The 
corridors are paved for the most jiart with 
the slabs of ancient tombs, and contain a 
great number of sarcophagi, statues, and 
fragments of sculpture from the Eoman 
times down to tlie xiv century. 

The Cathedral, dedicated to Sta. Re- 
parata, is one of the most important and 
interesting of Italian churches, whether 
from its dimensions, design, or decoration, 
and is typical of a limited but well-defined 
school of the Romanesque. Its jjlan is a 
Latin cross measuring about 320 ft. in 
length, by 115 ft. in breadth over the 
aisles. The transept is 230 ft. long and 
about (>5 ft. broad over its aisles. The 
nave, about 45 ft. wide between the cen- 
tres of its columns, has two aisles on each 
side, each in two stories and about 16 ft. 
wide, the inner aisles running singularly 
across the transept to the east wall of the 
church ; the outer aisles turning and 
flanking tlie transept and choir. The 
nave arcades are of single shafts of pol- 
ished granite and marbles with Corinthian 
capitals carrying rather narrow round 
arches. The second - story arcades have 
square piers over the columns below, 



299 



PISA 



joined by round bearing-arelies, each en- 
closing a pair of smaller round arches 
divided by a small column. Above is the 
clerestory wall of white marble with nar- 
row courses of black, i:)ierced by single 




Fig. 146,— Pisa, C.:Uh,i!ijI a. 



Transept. 



narrow arched windows which have no 
relation to the lower arches. The nave is 
covered by a flat wooden ceiling in deep 
panels, carved and gilded, the aisles by 
groined vaults, the inner and outer rows 
divided by arcades closer than those of 
the nave. The upper aisles are divided 
by square piers over each alternate col- 
umn of the lower arcade, with groups of 
four arches between on slender columns. 
These upper aisles or galleries are of un- 
usual height, and the outer one is lighted 
by windows in the aisle wall. The choir, 
which continues the nave and inner aisles 



two bays beyond the crossing, without in- 
terruption, ends in a round apse with a 
hemispherical vault covered with gold 
mosaics said to be from the hand of Cima- 
bue and to date from 1302. Each wing of 
the transept also has an apse at 
the end. The crossing of nave 
and transept, forming an oblong 
of 40 ft. by 55 ft., is covered by 
a pointed dome elliptical in j^lan, 
and raised on a low drum dimly 
lighted by small square windows. 
The bearing - arches across the 
nave are pointed, to suit their 
narrow span. The windows of 
the church are generally filled 
with stained glass, much of it of 
ancient date. The interior was 
nearly destroyed by fire in 1596, 
and the whole church has been 
subjected to a very thorough res- 
toration. The exterior, banded in 
white and black marble, is re- 
markable for the consistency of 
its design throughout, and for the 
delicacy and profuseness of its or- 
namental features. The front is 
in five stages following the out- 
line of the nave and aisles. The 
first story is a high blind arcade 
of seven round arches springing 
from engaged columns, of which 
the two enclosing the central arch 
are covered with bas-reliefs. 
The arch heads are filled with marble 
inlays, alternately round and lozenge- 
shaped. Three of the arches enclose 
plain square doorways closed by bronze 
doors of the xvil cent., with fine bas-re- 
liefs. All the other stories consist of 
open arcaded galleries of small round 
arches springing from shafts of various 
marbles, whose capitals are stayed by lin- 
tels to the wall behind, which is pierced 
with narrow round-arched windows some- 
times single, but mostly grouped. Under 
the slopes of the gables the columns, di- 
minishing, are dwarfed at the angles to 



300 



PISA 



mere capitals. The upper two stories 
have only the breadth of the nave. The 
corners of the front and the apex of the 
low gable are crowned with statues. The 
spandrels of the arches and the small por- 
tion of wall above them are decorated 
with a delicate and beautiful inlay of col- 
ored marbles, and the string-courses di- 
viding the stories as well as the cornice 
moulding are richly sculptured. The re- 
mainder of the exterior corresponds in de- 
sign with the front. The blind arcade of 
the first story is continued quite round 
the church, but with pilasters for col- 
umns, and is repeated in tlie clerestory, 
the second story of the aisle-wall being 
simply divided by pilasters into panels 
with square-headed windows. 'J'lie otlier 
windows are small and round lieaded. 
The eastern apse is in tlireo stages, of 
which tlie two upper consist of open gal- 
leries, the first arclicd, the second square- 



The church was founded in 1063 in j^lace 
of an older one, as a memorial of the grati- 
tude of the Pisans for success in war against 
the Saracens in Italy. The original archi- 
tect, it would appear from an inscription 
on his monument built into the fa9ade, 
was one Busketus or Buschetto, appar- 
ently a Greek from Dulychium, though 
some antiquaries have claimed him for 
Italian. The church, however, was not 
finislied till after his death and was dedi- 
cated in 1118. The nave was evidently 
lengthened after the original building. 
The fa9adc underwent alteration, or had 
been left unfinislied ; Xiccolo Pisano is 
said to have worked upon it in the xiii 
century. Tlie I'isans appear to have 
made ])ious use of tlie spoils of tlieir cne- 
niies — tlie niarl)les, the shafts, and even 
tlie capitals, have been plundered from 
many sources. {Sec Fifjs. 1J^5, lJf^i>, lJf7.) 
Leaning Towek. See CamiHinile. 




Fig. 147. — Pisa, Cathedral, Baptistry, Campanile and Campo Santo. 
Scale of 100 feet. 



headed. The high elliptical dome is 
surrounded at its base by a rather thin 
arcade of pointed, cusped, and gabled 
arches witli higli pinnacles between. This 
was added after the disastrous fire of 1590. 



Palazzo Gambacorti, a characteristic 
example of the Italian domestic archi- 
tecture of the XIV cent., covering an area 
about 80 ft. wide and 113 ft. deep, with a 
small court in the centre. Its j)rincipal 



801 



PISA 



interior feature is its fine entranco-hall, 
an irregular quadrangle about 40 ft. b}^ 
80 ft., divided into t'n-o lines of vaulted 
bays by massive shafts with ■well-devel- 
oped capitals. Its fa9ade, about 80 ft. 
wide and 70 ft. high, is of simple de- 
sign, in three high stories, a lower story 
of a door between four windows, with 
curiously abutted segment-arches ; and 
two stories of round-arched windows, 
with pairs of pointed and cusped sub- 
arches on slender colonnettes. 

Sta. Agata, a little octagonal brick 
chapel, Lombard in appearance,, and 
perhaps of the xi century. It has one 
broad doorway with an altar o^iposite, 
and in six faces triple arclied windows 
under round bearing-arches. Pilasters 
on the angles run up into an arched 
corbel-table below the high pyramidal 
roof. 

S. Cascias"0,, ft small early Eoman- 
esque church, of the ix and xii cents., 
at some little distance from the town, 
measuring about 60 ft. in width and 130 
ft. in length, with nave and aisles of 
eight bays, and a central apse. The 
church is incomplete, being finished only 
to the height of the nave arcades. The ex- 
terior follows as far as it goes the design of 
the cathedral, with a fagade of five high 
blind arches on flat pilasters, with inlays 
round and lozenge-shaped in the arch- 
heads, and containing three doors. Above 
this story the central division of the front 
is just started, with angle pilasters and a 
two - light window in the middle. The 
flanks and apse are treated with blind 
arches divided b}' pilasters, and with nar- 
row round-headed windows in every alter- 
nate bay. Apparently the three eastern 
bays and apse remain from the church of 
the IX cent., the church having been 
lengthened, and, as Mothes argues, the 
handsome old doorways inserted in the 
new front. 

Sta. Caterixa. a transitional church, 
showino- the character of the Pisau Eo- 



manesque modified by Gothic influence. 
It is about 240 ft. long and 53 ft. broad, 
consisting of a wide nave, the eastern 




Fig. 148— Pisa, Sta. Caterina. 

jDart bordered by one aisle of three oblong 
vaulted bays. It has a square chancel 
flanked by two square chapels on each 
side. The front, of white marble re- 
lieved by occasional narrow bands of 
black, and covered by a rather high 
gable, is in three stages, the first high, 
with three blind arches on engaged col- 
umns, the middle arch containing a plain 
square doorway, and reliefs in the tym- 
panum. The second stage is a grace- 
ful arcaded gallery of nine pointed and 
cusped arches on slender columns, with 
trefoils in the spandrels, with three 
pointed windows behind it. The upper 
stage has a broad arch occupying the 
centre, over a round window set in a 
square of small panels containing heads, 
and pointed arcades each side graduated 
to the slopes of the gable. The first 



302 



PISA 



story proba?jly belongs to the xi cent., 
the upper part, or at least the arcading, to 
Niccolo Pisano, in 126;^. {See Fig. IJ/B.) 

S. Fkaxcesco is a plain brick xiii 
cent, church, attributed to Xiccolo Pi- 
sano, long degraded to the uses of a mili- 
tary storehouse, but lately restored. It 
consists of a nave about 175 ft. long, 
covered by a continuous barrel-vault of 
nearly 60 ft. span and opening into a tran- 
sept of equal width and about 140 ft. long, 
from which open eastward a square vaulted 
choir and three smaller cliapels on each 
side. The vault of the choir is decorated 
with ancient frescoes, attributed to Taddeo 
Gaddi. In the angle of the north transept 
two boldly projecting corbels are made to 
sustain two sides of a high campanile, which 
above the roof has the features of a Lom- 
bard toAver, in four stories with pilaster- 
strips at the angles terminating in arched 
corbel-taljlcs, and triple windows in the 
belfry stage with bearing arches. Two fine 
cloisters attached to the church on the 
north, thougli modernized, are still elegant. 

S. Fkediaxo, one of the early minor 
churches of Pisa, of which the foundation 
is believed to date from the xi cent., but 
substantially rebuilt at a somewhat later 
period. Its plan is about .52 ft. wide and 
125 ft. long, divided into nave and aisles by 
seven ancient columnson eithcrside, doubt- 
less taken from Poman buildings, and bear- 
ing round arclies. Tlie nave has a con- 
tinuous high barrel-vault ; the aisles are 
in square bays, each covered with a low 
interior dome. The nave terminates east- 
ward in a square choir. Three square 
cha})els opening from each aisle are later 
additions. The fa9ade has two stories of 
wall-arcades after the characteristic Pisau 
manner, with lozenge-shapod panels in 
the arch heads, and tlirce doorways. 
Over the nave is a bare gable, apparently 
raised above its original height when the 
nave was vaulted. 

8ta. ^Iahia della Spix'a, a familiar 
Gothic church on the bank of the Arno, re- 



markable for its small size and for its pro- 
fuse and elaborate ornament. It is an ir- 
regular quadrilateral about 27 ft. by 52 ft. 
internally, consisting of a single hall with 
an open wooden roof, and with no archi- 
tectural feature except a vaulted arcade of 
three round arches at the east end, carried 
on heavy columns. The elaborate exterior 
is banded in white and black marble. Tlie 
low walls are faced with an arcade of seg- 
mental arches, which, on the exj)osed 
southern flank, ai"e filled with the tracery 
of M'indows now mostly stojiped up. Over 
them is a range of crocketed cano^jies like 
the stalls of a cathedral, fringing the 
eaves with pinnacles, and filled with stat- 
ues, Avhile aljove and between these rise 
at intervals square four -gabled shrines, 
likewise occupied by statues. The west 
end has twin arches containing two doors, 
and above tliem a singular composition of 
three crocketed gables, the higiier middle 
one peeping out between the others. The 
whole is adorned with colonnettes, foiled 
circles, and panels, and ends in five four- 
gabled canopies with statues. The east 
end is of quite a different character, con- 
sisting of three high-pointed arched pan- 
els enclosing single narrow Avindows, and 
capped witli high gables flanked by pin- 
nacled shrines like the others. Three oc- 
tagonal spires rise out of the roof here, 
corresponding to the three bays of the in- 
terior vaulted arcade. Tliis portion, it is 
conjectured, was the whole of the original 
building, erected in or near 1220 by the 
Gualandi family with tlie aid of the Sen- 
ate as a sort of shrine for tlie sailors of the 
town. The rest was added a century 
later by the city, and a thorn of the True 
Crown, brought lionie from the Holy 
Land by a Pisan merchant, was enslirined 
in it, whence the name of tlie church. It 
is believed that some of the sculpture is 
the work of Giovanni Pisano. Having 
suffered much from the overflow of the 
river, the church has lately been taken 
down, rebuilt, and raised. 



303 



PISA 



S. MiCHELE IN BoKGO, oiie of the most 
ancient of Pisan churclies, believed to 
date from tlie beginning of the xi cent.^ 
but substantially rebuilt under Niccolo 
Pisano about 1230, except the uj)per part 
of the f a9ade, which is seventy years later. 
It has a nave and aisle in seven bays, sep- 
arated by columns, part of which are of 
red granite brought from the ruins of Eo- 
man and other temples, a shallow square 
projection at the east end for the altar, 
and a campanile added in 1625. The 
vaulted crypt belongs to the older church, 
and was decorated with frescoes, of which 
traces still remain. The front is similar 
in disposition to that of the cathedral — a 
high story of plain wall, of white marble 
relieved by narrow courses of black, and 
with three square doorways under bear- 
ing arches, the central one surmounted by 
a triple arched shrine enclosing statues. 
Above this story are three open galleries 
of pointed and cusped arches with much 
delicate and interesting detail. 

S. Nicola, an ancient Eomanesque 
church founded about 1000 a.d., which 
has undergone many partial destructions 
and rebuildings, leaving only fragments 
of the original round-arched fa9ade. Its 
remarkable feature is its fine campanile, 
probably built by Niccolo Pisano about 
1230, an octagonal tower some 24 ft. in 
diameter, of two high stages of equal 
height with angle pilasters joined at the 
top of the second stage by round arches, 
under which are panels altei'nately round 
and lozenge-shaped. Above this is a 
graceful open arcaded gallery of sixteen 
round arches supported on slender shafts. 
A smaller and later hexagonal belfry- 
stage rises above the gallery with angle 
pilaster - strips, an arched corbel-table, 
small round-arched windows and an oc- 
tagonal stone roof. The tower contains a 
spiral staircase of admirable construction 
and of great beauty, enclosed between the 
outer wall and an ascending arcade. Va- 
sari says that it. was the model for Bra- 



mante's staircase in the Belvedere of the 
Vatican. 

S. Paolo a Ripa d'Arno, a Roman- 
esque church, said to have been founded 
by Charlemagne, but in its present form 
dating from the xi and xii centuries. Its 
plan is basilican or T-shaped, measuring 
about 185 ft. in length by 54 ft. in breadth, 
with long nave and aisles separated by 
granite columns with marble capitals sup- 
porting round arches and a clerestory, and 
a long transept with central dome and 
apse. The aisles are groin-vaulted in 
square bays ; the nave and transept have 
a flat ceiling. The exterior is like the 
cathedral in miniature. The front is in 
four stages, the first of the xi cent, with 
some later changes, very high, with five 
blind arches on fiat pilasters enclosing 
three doors and with marble inlay in the 
arch heads, round and lozenge - shaped. 
The upper and later stories consist of ar- 
caded galleries, with slender shafts, some 
spiral and twisted. The wall-surface is of 
white marble varied by thin courses of 
black. The fianks are in blind arcades on 
pilasters. 

S. PiETRO A Grado, situated on the 
bank of the Arno, about four miles from 
the town, is one of the most venerable 
among the Pisan churches. Its name is 
due to a tradition that St. Peter landed in 
Etruria upon this spot and built here a 
church. It was originally a rectangle of 
about 90 ft. in breadth by 50 ft. in length, 
with its tribune on the west end toward 
the sea. This disposition was changed 
afterward, when the church was nearly 
trebled in length eastward, and three 
apses were built at the eastern termina- 
tions of the nave and aisles, the western 
apse being however retained so that the 
entrances are in the sides. The nave and 
aisles are in thirteen bays covered with 
open roofs and are separated by ancient 
columns, some of Greek marble and the 
remainder of granite, joined by round 
arches, above which rises the wall of the 



304 



PISTOIA 



clerestoi'y pierced by narrow round-headed tlie cliurcli stands a square campanile in 

windows. Two heavy piers break the three stages — the first two witli jiilaster- 

series and mark the junction of the old strips terminating in arched corbel-tables, 

work and the new. The exterior differs and with small and simple openings. The 

from that of most of the Pisan churches campanile is of stone to the height of the 

in being essentially that of a Lombard aisle walls of the church — above this point 

basilica, the walls divided into bays by it is of brick, having evidently been re- 



pilaster-strips terminating in arched cor- 
bel-tables, and otherwise of severe sim- 
plicity. A square, detached campanile 
of later date, but similar in style, stands 
near tlie N. E. angle of the chui'ch. It 
is in four stages, divided by tliin string- 
courses with arched corbel - tables. The 
ujDper orbelfry stage, having a simple two- 
light window in each face, is Kenaissance. 
There is controversy over the aije of this 



built after partial destruction. 

S. Stefano ai Cavalieri, one of the 
few Eenaissance churches of Pisa, and 
next to tlie catliedral the largest church 
in the town, measuring about 200 ft. by 
110 ft. It was begun from the designs of 
Vasari in 1562, but its plan, originally of 
great simplicity, consisting of a great nave 
52 ft. wide and 135 ft. long, with a small 
square choir terminating in a round apse 



cliurcli. Mothes and some others argue and flanked by two rectangular chapels, 



that the older jiarts are of the v cent., and 
the additions of the ix ; De Fleury and 
most writers, including the latest, Dehio 
and von Bezold, that the oldest parts are of 
the IX or x cent, and the later of the xii. 
S. Ski'OLCKO is an interesting octagonal 
church of which the date is given as 1125. 
It is the work of Dioti Salvi, was built as a 
chapel attached to a house of the Knights 
Templar, in the form which they affect- 
ed as that of the Holy Sepulchre, and has 
much the character of the Lombard bap- 
tisteries. A rhymed inscription tells the 
builder's name : 

Hujiis operis fabricator 
Duns te Salvot nomiiiatur. 

A central octagon, about 28 ft. in diam- 
eter, composed of banded piers carrying 
high pointed arches, is surrounded by an 
aisle 20 ft. wi(l(\ in which are four i)lain 
square dooi'ways under ardu'S. and ahove 
in each side two small round-arched win- 
dows. Above the roof of the aisle tln^ 
wall of the central octagon is carried uji 
as a clerestory, ])ierced with a single small 
window ill each side, and crowned by a 
sharp octagonal stone iMof very slightly 
domed M'ithin. The walls are of stone 
and with little onianient. At the side of 



has been singularly changed by the addi- 
tion, in 1082, of aisles connected with the 
nave only by two doorways on each side, 
and by chapels and connecting spaces on 
the east end completely enclosing the 
choir and apse. The nave is covered by a 
flat wooden ceiling deeply panelled and 
decorated in blue and gold, with paintings 
in the panels. A slender bell-tower rises 
from the south side of the choir. The ex- 
terior, of plain brick, was provided with its 
facade of marble from the designs of Bu- 
ontalenti, or. as some say, of Ciovanni de' 
^lodici himself. 
PISTOIA, Italy. 

The Baptlsteuy, a beautiful early 
Gothic building built, it is said, by Cel- 
lino di Xese from the designs of Andrea 
Pisano, and finished about 1350. It is an 
octagon. 48 ft. in diameter inside, with an 
octagonal tribune opening from the side 
opposite the main entrance. The interior 
is simple, lighted by high narrow windows, 
and covered by an octagonal dome whose 
crown is 43 ft. above the floor. The ex- 
terior is of white marble with alternate 
narrow courses of black or dark green 
marble. It has projecting angle-pilasters 
ending in ])innacles, three round-arched 
doorways on three sides, and on four 



305 



PISTOIA 



others a single narrow pointed arched 
window. The principal doorway is capped 
by a high crocketed gable with pinnacles, 
enclosing a small wheel window. The up- 
per part of the wall is encircled with a 
graceful blind arcade of cusped pointed 
arches with gables, separated by slender 
shafts. The wall is finished by a low open 
balustrade, above wliich is a low attic, also 
with angle pilasters ending in i^innacles, 
and an octagonal roof covered by an ojjen 
lantern. Six steps surround the base of 
the building. 

The Cathedral of Sta. Maria is a 
Lombard church of the Pisan type, with- 
out transept. Its plan is a rectangle 
about 86 ft. wide and 170 ft. long, with a 
vaulted nave and aisles of ten bays di- 
vided by round columns, carrying round 
arches, and a clerestory with square win- 
dows, probably modern. The choir, flanked 
by modern chapels, has one projecting bay 
terminating in a great apse, built at the 
end of the XYi century. The floor of the 
choir, raised above that of the nave and 
approached by steps extending the whole 
breadth of nave and aisles, covers a fine 
crypt, divided into three aisles of three 
vaulted bays each, the central aisle having 
a sqi:are projecting sanctuary to the east, 
and the side aisles each a lateral chapel. 
The exterior has a fa9ade much like that 
of Pisa, but with the addition of a project- 
ing open arcaded porch or narthex of 
seven round arches extending across its 
whole width, the central arch much stilt- 
ed, and tlie others surmounted by a heavy 
square-]3anelled attic. The porch has a 
barrel-vault with bas-reliefs by Andrea 
della Robbia. Above it the facade, fol- 
lowing the outline of the nave and aisles, 
consists of two stories of arcaded gal- 
leries and rows of graduated . colonnettes 
under the gable and half-gables. The 
walls of the aisles are high, and are deco- 
rated with blind arcades with square win- 
dows above, and in the arch-heads lozenge- 
shaped inlays of colored marbles. Over 



the choir is a square lantern with small 
windows and a flat roof. At the north an- 
gle of the front rises a fine square cam- 
panile, of earlier date than the church 
and serving originally the pur|)oses of 
military defence, but remodelled at the 
end of the xiii cent, by Griovanni da Pisa, 
when the three stories of arcaded galleries 
were added, making it one of the finest 
towers in Italy. The cathedral appears to 
have been built about 1160, replacing an 
earlier church of the vi century. It was 
probably partially rebuilt in 1272, by Nic- 
colo Pisano. 

Madonna del Umilta, a conspicuous 
and interesting Renaissance church be- 
gun in 1494 by Ventura Vitoni, but only 
completed in 1569. It is an octagon 90 
ft. in diameter, faced with a transverse 
closed porch or narthex 35 ft. wide and 
100 ft. long. The porch is covered by a 
barrel-vault divided into bays, of which 
the central bay rises into a high hem- 
ispherical dome cofi'ered like the vault. 




I 1 1 L. 



Fig. 149.— Pistoia, Mad. del Umilta. 
Scale of 100 feet. 

The octagon is in four stories, of which 
all but the uppermost are encircled by 
Corinthian orders with coupled pilas- 
ters. The lower order, which lines the 
church throughout, is on high pedes- 



306 



PISTOIA 



tals. In the octagon its intervals enclose 
arches which in the axis of the church 
open into the narthex and into the op- 
posite choir, a single, barrel-vaulted bay. 
In the other faces are altar niches. The 
second and third stories have a similar 
order of pilasters, with a round-arched 
window in each face, with rudimentary 
tracery. The fourth story is a high attic 
from which springs an octagonal dome 
and lantern. These, which were added 
by Vasari, are crude in design and out of 
keejiing with the exterior. {Sec Fig. lJf9. ) 

The OsPEDALE DEL Cei'PO, the great 
hospital of Pistoia, originally built in 1377, 
but restored later, consists of a square mass 
of buildings surrounding a court, and is 
notable chiefly for its long fa9ade in two 
stories — the first a broad open vaulted ar- 
cade of graceful round arches springing 
from Corinthian columns, the second, 
rather low, with square windows with 
simple dressings over the arches. Tliis 
front is remarkable for its frieze about 4 
ft. high, separating the two stories, exe- 
cuted in 15"-i8 by Giovanni della Eobl)ia. 
in colored terra-cotta. It is divided into 
seven panels about 18 ft. long, correspond- 
ing to the arches below, and filled witli 
subjects in high relief, representing the 
seven acts of mercy — the visitation of the 
sick, the burial of the dead, etc. — the fig- 
ures colored as in a picture. Tlie spandrels 
of the arcade are ornamented witli roun- 
dels in terra-cotta, enclosing reliefs by vari- 
ous members of the Delia Robbia family. 

Palazzo Commujs^ale, the old Towii- 
hall, built between Vi{)'i and 1350, stands 
on the great square north of the cathe- 
dral ; a high rectangular building of four 
stories, of which the lowest has on the 
front an open arcade of five low pointed 
arches springing from single square piers. 
Above these is a range of five pointed and 
cusped two-light windows under low bear- 
ing arches, the central window having the 
balcony or riiu/Jn'crd characteristic of the 
town-halls of North Italv. from which the 



magistrates addressed the people. The 
third story is a mezzanine with small 
square windows with trefoil head, and the 
fourth has five broad and fine three-light 
windows with pointed, cusped", and tra- 
ceried heads, enclosed by strong bear- 
ing-arches at the spring of which a thin 
impost moulding runs across the front, 
which is finished by a flat projecting 
cornice. The interior contains many fine 
halls decorated with frescoes now much 
decayed, and a beautiful court, each side 
of wliich is supported on a single great 
round arch springing from angle piers 
with chamfered corners and carved caj^i- 
tals, the wall above pierced with grouped 
windows similar to those of the upjDer 
story of the facade. 

Palazzo del Podesta, or, del Preto- 
rio, the ancient palace of the magistrates, 
built in 13GG, is a square mass of building 
adjacent to the Baptistery, with an im- 
posing faQade on the great square of three 
stories, the lowest a plain wall pierced 
with square openings and a simple round- 
arched doorway giving access to the court- 
yard. The other two stories have each 
a range of seven two-light pointed and 
cusped windows with poiiited bearing 
arch. Simple string-courses divide the 
stories from each other, and a fiat project- 
ing cornice crowns the front. The court 
is small, and is remarkable for retaining 
its ancient stone bench of judgment, a 
plain seat of stone with a massive stone 
table in front of and below it, from wliich 
the sentences of the magistrates Avere de- 
livered. The walls are covered with de- 
caying frescoes. 

S. AjfDKEA, a flat-ceiled basilica whose 
age is disputed, but whose present aspect 
dates from the latter half of the xii 
century. It is about 130 ft. long and 
50 ft. wide, with nave and aisles separated 
by five pairs of composite marble columns 
carrying round arches, the last two bays 
being marked olf as a choir by square 
piers, and railed in. The clerestory is 



307 



PLAISANCE 



extraordiuarily high. The earlier front 
lias been considerably overbuilt; the 
lower and older part has a quintuple ar- 
cade of slender columns containing three 
doorAvays of the Pisan type, banded archi- 
volts, and lozenge panels. The upper 
part, covered with a dense geometric 
mosaic, and following the outline of the 
aisles and clerestory, is much changed by 
later alteration, especially by a clumsy 
Eenaissance balustrade across the whole, 
and a circular window above, added by 
the Jesuits in 1640. On the lintel of the 
main door is a relief of the Last Judg- 
ment, signed by the sculptor Gruamons in 
1166, and in the nave is a handsome hex- 
agonal pulpit by Giovanni Pisano. 

S. Paolo is an old church which dates 
from 748, but was rebuilt in 1136. The 
interesting part is the front, which was 
remodelled after 1263, and finished by 
Giovanni Pisano and his pupil Jacopo di 
Matteo about 1320. It is banded in green 
and gray stone. Bound arches remain be- 
low ; above them is a graceful pointed ar- 
cade and balustrade, then a high-pitched 
crocketed gable enclosing a foiled wheel- 
window. The rich pointed main door- 
way, placarded upon the old round arch, 
is the work of Giovanni and Jacopo, the 
sculpture being signed by Jacopo. 
PLAISA:\tCE. See Piacema. 
PLAT^A, Boeotia, Greece. 

Her.eum, or Temple of Hera (Juno). 
This noted sanctuary is recognized wdth 
practical certainty in the remains of an 
important Doric temple found in 1891 by 
the American School at Athens. It was 
on a terrace about 120 ft. broad, rising- 
some 6 ft. above the neighboring fields. 
It was 54 ft. 9 in. by 163 ft. 9 in., ori- 
ented east and west, hexastyle, peripter- 
al, undoubtedly Doric, with pronaos and 
opisthodomos of two columns in antis, 
cella, and a rather small treasury behind. 
In plan it was somewhat archaic, being 
very long in proportion to its width, and 
having the pronaos and opisthodomos no- 



ticeably deep. The j)lan and the nature 
of the masonry seem to point to a date in 
the Yi cent. B.C.; on the other hand, if 
this is in fact the Herseum, we know that 
it was built, or more probably merely re- 
built or adorned in its cella and super- 
structure by the Thebans, after their 
annihilation of Plataea in B.C. 427. 

Walls of the city, about two and a half 
miles in circuit. The remains are exten- 
sive, and can be assigned to five distinct 
periods, beginning with the polygonal style 
of an early type, and ending with rough 
masonry consisting of rubble and tiles laid 
in mortar — probably Byzantine or very late 
Eoman. The main walls are about 10 ft. 
10 in. thick, and in places are still over 
12 ft. high and of excellent workmanship. 
They are strengthened in places with 
round rectangular towers, particularly in 
the tAvo cross-walls, one within the other, 
Avhich make the base of the triangle Avith 
its apex toAvard the south, representing 
the plan of the city. 
POLA (anc. Pietas Julia), Istria. 

Amphitheatre, probably later than 
Augustus. It stands near the sea on the 
slope of a hill, so that the east side has only 
one story, while the west side has three 
stories. In plan it is elliptical ; the greater 
axis is 452 ft., the lesser 369 ft. ; the axes 
of the arena are 229 ft. and 147 ft. The 
full height of the wall is 97 ft.; the ex- 
terior is rusticated and divided into three 
stories, the lower ones consisting of Tus- 
can arcades of seventy-two arches each, 
in the second story Avithout pedestals. 
The third story has square windows be- 
tween pilasters. The exterior Avail is 
broken by four rectangidar toAvers, Avhich 
are clearly parts of the original building. 
Their use is unknoAvn ; but it has been 
suggested that they Avere for staircases for 
Avonien. The material is a hard Avhite 
limestone, almost marble, laid in large 
blocks with metallic clamjJS and no 
mortar. The outer wall is nearly perfect, 
but the interior is ruinous, though the line 



308 



POLA 



of the podium is still preserved, as well as 
traces of the stairs and vomitories. The 
arena could be flooded for the naumachy. 
The estimated capacity is twenty-two 
thousand spectators. 

The Cathedral was first built, accord- 
ing to an inscription still standing in its 
wall, in 857, under the Emperor Louis 
\'III., by a Bishop Handegis : but was re- 
built as it now appears in the xv cent., 
perhaps preserving the old plan. It is a 
three-aisled basilica with transept, with 
nave and aisles in nine bays of broad 
pointed arcades, and ending eastward in 
tlie straight wall which probably re- 
places an earlier apse. The choir, which 
extends into tlie nave, has been raised, 
lowering the triumphal arch, that may be 
a part of tlie original church, as may be 
also the columns, some of them bearing 
antique capitals under the stilt - blocks, 
and some Komanesque or Byzantine. The 
bell-tower is of the last century. 

The Porta Erculea, or Gate of Her- 
cules, in the old city-wall, excavated since 
1845, is named from the head and club of 
Hercules carved beside the keystone. 

Porta Gemina, a double Roman gate- 
way in the old wall, on the nortli side 
of the Capitol, toward the auiphitlieatre. 
Tlie two arches, side by side, are well 
l)roportioned ; tlicy open between three 
engaged uufluted Corinthian columns, 
which sujiport an entablature eonsistiug 
merely of frieze and cornice. The attic 
is gone. 

Templio of Diana (?), on tlie Forum 
(now tlie market-place). It was a nearly 
exact duplicate of the temple of Rome 
and Augustus, but was transformed into 
a palace for the A'enetian governors, to 
which end it was furnished with a Vene- 
tian pointed fayade. It serves now as the 
Palazzo Pubblico or town-hall. On the 
sides tlie original dispositions remain to 
some extent visible. 

Templk ov Rome and Augtstus. It 
remains in good preservation, and now 



serves as a museum. It is of the best 
period of Roman art, Corinthian (unfluted 
columns), tetrastyle (the portico includes 
six columns), prostyle, ground-plan 57 ft. 
by 26| ft., on a high stereobate, reached 
by a flight of steps in front ; the cella is 
41| ft. by 36 ft. outside. The height of 
the columns is 27^ ft., the total height 
44 ft. The material is limestone, except 
the shafts of the columns, which are in 
fine white marble. The bases of the col- 
umns have no plinths. The foliage of 
the capitals, the frieze, and the modillions 
have a richness and a delicacy scarcely 
surpassed in the Augustan age. 

Theatre. The site is still visible in a 
semicircular hollow in the hill-side above 
the town. A great part of the stones were 
used in 163G to build the citadel. It was 
finely constructed of free-stone ; in i)lan 
semicircular, tlie greater diameter about 
330 ft., that of the orchestra 117 ft. The 
cavea was divided by a precinctiou into 
two ranges, the lower of fourteen seats, 
the upper of eleven ; above the upper 
range there was a gallery, and back of 
that a covered Corinthian portico. The 
stage-wall was adorned with two tiers of 
Corinthian columns. 

The Triumphal Arch is now called 
Porta Aurea or Porta Aurata, a name 
M'hich belonged properly to the destroyed 
neighboring city gate. It is in fact a mon- 
ument of the patrician family of the Sergii, 
and is gracefully pro])ortioned, consisting 
of a single arch of 13| ft. span and 24^ 
ft. high, between two pairs of Corinthian 
columns supporting a broken entablature. 
The frieze over the arch bears an inscrip- 
tion and sculptured chariots ; over the 
entablature stand three pedestals which 
originally bore statues of the Sergii, and 
an inscribed attic. There are ringed vic- 
tories in the spandrels. The imposts of 
the arch are received upon pilasters. The 
material is a hard white limestone ; the 
ground-})lan 'M ft. by 7| ft. ; the total 
height 45i ft. 



309 



POMPEII 



POMPEII, Italy. 

Amphitheatre, occupying the eastern 
extremity of the town. From the testi- 
mony of its masonry and of inscriptions, 
it was probably built early in the first 
cent. B.C., and may claim to be the oldest 
known Eoman amj^hitheatre. It is in 
part excavated, so that the comparatively 
low exterior walls do not correspond with 
the heiglit of the interior. The plan is 
the usual ellipse, the exterior axes being 
334| ft. and 426 ft., and those of the 
arena 121 ft. and 226 ft. The cavea had 
thirty-five tiers of seats, which could ac- 
commodate about twenty thousand peo- 
ple ; they are divided horizontally by two 
precinctions. The lowest division com- 
prised the seats of honor ; in the middle 
of each of the loiag sides there is a large 
box in which there are only four steps in- 
stead of five, adapted to receive movable 
chairs. The middle division of the cavea 
is subdivided by twenty radiating stair- 
ways, and the highest division by forty. 
Above the highest division is a gallery di- 
vided into little boxes, to which there is ac- 
cess by a number of stairways ; this was 
presumably for women. Behind this gal- 
lery there was another for the workmen 
who managed the vela or awnings. The 
arena has large arched entrances at the 
two ends. Access to the lowest and mid- 
dle divisions of the cavea is by stairs and 
vomitoria from a vaulted corridor concen- 
tric with the arena ; to the highest division 
by a wide exterior gallery, supported on 
arcades and provided with a number of 
stairs leading to the ground. Many of the 
seats remain in place ; they have edge- 
mouldings, and depressions for the feet of 
the spectators of the next tier above, like 
those of the Small Theatre, but are formed 
of solid blocks of tufa. The arena is sur- 
rounded by a podium-wall about 7 ft. 
high, upon which was set a stout grating 
for the security of the spectators. This 
wall was ornamented with paintings of 
gladiatorial subjects. The arena itself 



has a simple earth floor, with none of the 
substructions which occur in many other 
amphitheatres. 

Basilica, facing on the S.W. angle of 
the Forum. In plan it is approximately 
a rectangle of about 83 ft. by 220 ft., 
surrounded on all four sides by interior 
ranges of columns, and having at the 
western end a rectangular tribune pro- 
jecting inward from the back wall. It 
opened on the portico of the Forum by 
five doorways separated by piers, and 
probably closed by wooden barriers and 
light gratings. Within these doorways 
was a narrow vestibule separated from the 
main body of the interior by a fiight of 
five steps, two piers, and two central col- 
umns. The central space was surrounded 
by twelve large columns on each side, 
with two intervening at each end ; these 
columns were very solidly built of spec- 
ially shaped bricks, and coated with fine 
stucco. From the size of these columns 
it is clear that there can have been no 
second range above them. To the central 
columns corresponded engaged columns 
against the walls, which, as well as the 
columns of the vestibule and those in the 
line of the front of the tribune, are of 
much smaller size, indicating that there 
was here a superposed order. Many frag- 
ments, in tufa, of this order have been 
found, with Ionic capitals. They show 
that the upper story consisted in great 
part of colonnades, left open for the light- 
ing of the building. There is indication 
that there were no floored galleries over 
the aisles. The tribune was raised about 
6 ft. ; it was entered by doors in the walls 
which closed it at the sides. In front it 
had six columns, whose intercolumnia- 
tions show marks of gratings. The trib- 
une was richly ornamented with mould- 
ed work in stucco. Beneath it there is 
a vaulted chamber of problematical use ; 
it does not appear to have been a prison. 
The building had a timber roof, the roof 
of the central space being probably sepa- 



310 



POMPEII 



rate from that of the aisles. The wall- 
decoration belongs to the first Pompeiian 
style, imitating encrustation in colored 
marbles. In date the building is pre- 
Eoman, falling in the ii century B.C. 
It was damaged by the earthquake of G3 
A.D., and a more or less complete restor- 
ation, including the decoration of the trib- 
une Avith marble, was in progress when the 
great eruption came. 

Building of Eumachia. An inscrip- 
tion shows that it was dedicated by the 
priestess Eumachia in honor of Concordia 
Augusta and Pietas, evidently with refer- 
ence to Livia and Tiberius. It consists 
of a large rectangle, enclosing an open 
double-porticoed court, and ^^receded at 
the end toward the Forum by a broad por- 
tico of seventeen columns, which was un- 
finished at the time of the final destruc- 
tion. Around the two sides and the back 
is carried a spacious covered jiassage. 
Against the back wall is a large semicircu- 
lar apse with two piers in the line of the 
wall, flanked by two small apses. The 
wall-painting is in the third Pomjieian 
decorative style, with a black dado and 
foliage-ornament, the panels above being 
alternately red and yellow, with small 
landscai^es. The building dates from 
about 50 A.D. ; it was much damaged by 
the great earthquake, and restoration and 
further enrichment with marble encrusta- 
tion, etc., were in progress at the time of 
the final disaster. 

Curia Isiaca. See Palmstra. 

Three Curiae or Tribunals, as com- 
monly called, occupying the southern end 
of the Forum. The three buildings arc 
of moderate size and similar plan, and of 
construction subsequent to the earthquake 
of G3 A.D., though it is evident tliat tlu\v 
replaced older public buildings. Tbo 
plan of all includes a rectangular hall 
with an apse or tribune at the end. They 
had a common fayade, wliich formed an 
architectural pendant to the Temple of 
Jupiter at the opposite end of the Forum. 



The middle building, more ornate, was 
adorned inside wuth columns against the 
walls, perhaps in a double tier, and its 
tribune was occupied by an enriched edi- 
cule presumably for a statue of the em- 
peror. The porticoes before this build- 
ing and the eastern one could be closed by 
gratings. All these were paved and en- 
crusted with marble, and had timber 
roofs. It is probable that the middle one 
was the senate-house of the Decurions, 
that the eastern one, which like the first 
could be securely closed by gratings 
against the invasion of a crowd, was the 
court of the Duumviri, and that the west- 
ern one, which was open to the public, 
was the office of the ^diles, among whose 
functions was the jDolice of the market. 

The Forum is an open square, about 
450 ft. north and south and a fourth as 
wide from east to west, which was lined 
with open porticoes. The northerly is oc- 
cupied by the Temple of Jupiter, and the 
southerly abuts against the three Curiae. 
The west side is bordered b}' the Basil- 
ica and the Temple of Ajiollo ; the east 
by the Macellum or Market, the tenacu- 
lum, the Temple of the Genius of Augus- 
tus, the Building of Eumachia, and the 
so-called School. The porticoes Avere in 
course of reconstruction at the time of the 
disaster of 79 A.D. The older structure 
remained on the south side of the Forum, 
and on the southern part of the east side ; 
its columns were in tufa coated Avitli stucco, 
of so-called Greek style, Avitli an entabla- 
ture supported by Avooden beams, the Avhole 
being of rough execution. It was built 
by the quaestor Vibius Popidius. AVhen 
the city Avas overAvhelraed, this portico 
had been demolished on the entire west 
side, and in part rebuilt. The new struct- 
ure Avas in limestone, of fair construction, 
though of inelegant design, and had tAvo 
stories. The architraA'es of the loAver range 
of colunnis Avere built up in flat arches. 
The loAver order Avas Doric, the upper 
Ionic. {See Fig. 150.) 



POMPEII 



The Forum Triangulare is an open space 
at tlae south end of the town, nearly tri- 
angular in shajoe, and bordered by open 
colonnades. It is adjoined on the X. E. 



of this court are Doric, about 12 ft. high, 
well formed and of good execution. They 
date from the tufa period, and appear to: 
be contemporaneous with the Great Thea- 




Fig. 150. — Pompeii, Forum. 



by the Great Theatre, and contains the 
Greek Temj)le. 

The Gladiators' Barracks, sometimes 
called a market, consists of a colonnaded 
court about 148 ft. by 187 ft. surrounded 
by a double tier of small cells, seventy- 
one in all, opening on the porticoes below 
and on a covered wooden gallery above. 
These were evidently the sleej^ing-qiiarters 
of the gladiators. The ranges of cells are 
interrupted at intervals by chambers ap- 
propriated to other uses, including stair- 
ways, a Avide stair in the X. AV. corner de- 
scending to the Forum Triangulare, a 
chapel with trophies on the south side, a 
prison, some better rooms for officers, and 
what seems to have been a dining-room on 
the east side communicatino; with a large 
kitchen. In the X. E. angle is a graceful 
Ionic portico of three columns with a 
Efuard-chamber on one side. The columns 



tre. The cells are evidently later than 
the porticoes, and it is probable that the 
original building was to shelter the spec- 
tators in the theatre in the event of a 
storm, and was later altered to lodge the 
gladiators. It is estimated that it could 
accommodate one hundred and fort3--two, 
exclusive of officers — not an unreasonable 
number, since there is record of as many 
as forty pairs fighting together at Pom- 
peii in a single daj", beside combats with 
wild beasts. 

House of the Cextexary. This im- 
portant dwelling is of the type developed 
from two houses side by side, one atrium 
and the rooms around it being approj)ri- 
ated especially to purposes of display, and 
the other reserved for household needs. 
In this example the left-hand atrium is 
the finer. Behind it lies a beautiful square 
peristyle with twenty-two Doric columns, 



312 



POMPEII 



tAVo-storied on the side toward tlie front. 
On the peristyle open several summer and 
winter dining-rooms, exedras, and at the 
back a large, open, well-ventilated sitting- 
room, behind which is a very small gar- 
den. The service atrium has a garden of 
moderate size on its right hand, and stairs 
to the upper story. A long passage leads 
back to a kitchen, stable, cellar, and an 
unusually spacious and comj^lete private 
bath, with frigidariiim or cold bath, ajx)- 
dyterium or dressing-room, tepidarii(iii or 
warm-air chamlier, and ccddariuin or warm 
bath. This portion of the house contains 
also a secluded and splendidly painted 
triclinium or dining-room, which has an 
indei^endent entrance on a side street, ev- 
idently designed for somewhat riotous fes- 
tivities. The house appears to be of Ro- 
man republican date, and its mural jiaint- 
ing is in part apparently contemporane- 
ous with the house and of the so-called 
candelaijrum style, and in part of the lat- 
est Pompeian style. The decoration of 
the secluded triclinium, consisting of 
brilliantly colored gi'oups of figures on 
dark grounds, mostly 
black, is among the 
most remarkal)lo in 
Pompeii. 

The House of Cou- 
NELius liui'l'S is note- 
worthy for the remains 
of its luindsome atrium, 
with a bordered implu- 
vium in the middle, by 
M'liich still stand the 
uiarhk' standards of a 
table, grax'efuUy carved 
Avitli lions, that have 
been often imitated by 
modenx designers. A 
tcrmiiuxl figure of Rufus 
with its inscription gives its name to the 
house ; and lichind thetablinumand triclin- 
ium are seen the eighteen Doric columns 
of I he cU'gMnf peristyle. {Sec Fir/. 151.) 

Tiie lIoLSK of the Dioscuri (Castor 



and Pollux), or of the Qusestor, is for the 
beauty of its decoration and the complex- 
ity of its details one of the most important 
dwellings of Pompeii. It is formed of 
three houses side by side thrown into one, 
those on the sides retaining jaractically 
their original arrangement, and that in 
the middle devoted entirely to a handsome 
l^eristyle with central tank and garden, a 
spacious OBcus or state chamber with Avails 
encrusted with marble, and two small 
bedrooms. The house on the left pre- 
sents a twelve-columned Corinthian atri- 
um, surrounded by the usual rooms, in- 
cluding two dining-rooms. At the rear 
is a peristyle and garden, Avith free-stand- 
ing columns, however, on only one side ; 
on this o])Q\\ the kitchen and the winter 
dining-room, as Avell as the oecus of the 
middle house. The figure jiainting, of 
mythological subjects, is among the most 
interesting of Pompeii. That of the ta- 
blinum and of the triclinium next it, on 
blue grounds, is especially iioteAVorthy. 
The decoration of the middle house is al- 
so excellent, thou<>h later in stvle. The 




H>>uie of Cornelius Rufus. 



right-hand house is much plainer, and. 
doubtless Avas chiefly occupied by the 
slaves of the household. The house was 
named House of the Quaestor from the 
])resence in the atrinin of the left-hand 



313 



POMPEII 



house of three metal - plated and lined 
money-chests ; but as there were no quaes- 
tors in Pompeii at the time of its destruc- 
tion, the name House of the Dioscuri, 
from the subject of one of the wall-paint- 
ings, is now preferred. 

The House of the Fau:s', or of the 
G-REAT Mosaic, formerly called House of 
Goethe, from the poet's son, is one of the 




Fig. 152. — Pompeii, House of the Faun. 

most stately of Pompeian residences. It 
occupies the sites of two older houses in 
width, and presumably of two in depth 
also. The front part preserves miich of 
the original arrangement of two houses 
side by side, with two entrances and two 
atria. Behind one of the atria there is a 
taMinum or drawing-room between two 
dining-rooms {triclinia), and behind the 
other are the fauces, giving access to the 
kitchen, baths, and other domestic ser- 
vices. The fine peristyle, about 80 ft. 
by 65 ft., had twenty-eight Ionic columns 
in tufa coated with thin, hard, white 
stucco, and was surmounted by a gallery 
in the second story. At the back of the 
peristyle lies an exedra, with two Corin- 
thian columns in antis and open at the 
back toward the great garden except for 
a low division-wall. In this exedra was 
found the remarkable mosaic of the 
Battle of Alexander against Darius, now 
in the National Museum at Naples, which 



gives one of its names to the house. The 
garden, which occupies the entire sites of 
two houses, is surrounded by a portico of 
fifty-six Doric columns. The decoration 
of this house is remarkable for the profu- 
sion of mosaics ; they begin in the very 
entrance-passage, which is -the most ornate 
in Pompeii. There is also much relief- 
ornament in stucco, and painting in imi- 
tation of colored marbles, but 
comparatively little pictorial 
Avall-painting. {See Fig. 152.) 
House of Goethe. See 
House of the Faun. 

House of Holconius Eu- 
FUS, a dwelling of moderate 
size but interesting from the 
regularity of its plan and for 
its details. The street fronts as 
usual are bordered by shops, 
several of which consist of two, 
three, or even more rooms. The 
entrance - passage leads to a 
somewhat small atrium of the 
so-called Tuscan type without 
columns, upon which open the usual 
rooms. On one side of the handsome 
tablinum or drawing-room at the back 
of the atrium was the stair to the uj»per 
story, on the other the passage {fauces) 
to the rear part of the house. The 
peristyle, somewhat irregular, was colon- 
naded in the second story as well as be- 
low. The large dining-room is enclosed 
and is placed on one side conveniently 
near the kitchen. At the back of the 
jDeristyle is a fine exedra, or summer din- 
ing-room, which is flanked by two smaller 
rooms. The wall-paintings include Bac- 
chic and musical subjects, and some of the 
rooms are paved with marble. 

House of Meleager, a stately dwel- 
ling in which, as in the house of Sallust, 
the private apartments surrounding the 
peristyle are placed beside the public por- 
tion of the house about the atrium, in- 
stead of in the normal position behind it. 
The house has no shops connected with 



314 



POMPEII 



it. The atrium is Tuscan, without col- 
umns ; the rooms opening on it are fewer 
and simpler in plan than usual. The peri- 
style, entered from the atrium by an or- 
namented doorway of four leaves, is very 
large, and has a wide portico supported by 
twenty-four columns which are smooth 
and colored red below, and fluted and 
white above, with fanciful capitals. In 
the court was a garden surrounding a 
piscina of complicated design. At the 
back lies an open or summer dining-room, 
along whose rear and side walls are ranged 
twelve columns which seem to have sup- 
ported a gallery. On either side of this 
room there is a spacious exedra, and in 
the left hand corner in a projecting ell is 
a large closed dining-room, beside which 
is the commodious bedroom of the master 
of the house. Some rooms of the upper 
story remain in good condition. The 
decoration of this house is throughout very 
rich. The floors are of mosaic or of ojiiis 
signiniim with inlaid patterns. The M'all 
painting, in the late Eoman styles, is lav- 
ish ; its subjects include ^leleager aiul 
Atalanta (in the entrance-passage), from 
which the house is named, Paris and 
Helen, Ganymede and the Eagle. Silenus 
and the Infant Bacchus, many scenes in 
which figure cupids, nymphs, and satyrs, 
and fantastic architectural devices. 

IIorsE OF Pansa, one of the largest 
and most stately dwellings in Pompeii, 
and of very regular plan, so that it has 




Fig. 153. — Pompeii, House of Pansa. 

been selected more than once for repro- 
duction, as in Paris, and at Saratoga, New 
York, It occupies the entire space be- 
tween four streets. It dates from the 



old or tufa period, and shows modifica- 
tions of Eoman date, the chief of which 
are the numerous shops on the street- 
fronts. Some of these form small houses 
in themselves, with many rooms, and 
among them is a complete bakery. The 
entrance is- preceded by a small vestibule. 
The atrium is of the Tuscan tj^pe, without 
columns about the central piscina ; it 
has at the side small bedrooms and two 
alee or wings, the latter with fine mosaic 
pavement, and at the back a tahUimm or 
drawing-room, on one side of which is the 
passage {fauces) to the private part of the 
house, and to the spacious perist3de, which 
has sixteen columns about the central 
court with its piscina, and was surrounded 
by a gallery in the second story. On one 
side of the peristyle lies the dining-room 
{triclinium). On the other side is a range 
of bedrooms, outside of which, on the side 
street, are placed the kitchen and a stable 
and carriage-house. At the back of the 
peristyle is the chief room in the house, 
the cecus, so called. The garden, arranged 
in long parallel beds, appears to have 
been a vegetable-garden. The mural dec- 
oration of this fine house has, unfortu- 
nately, for the most part perished. Several 
of the bedrooms of the second story remain 
in part ; in them the excavators found a 
quantity of feminine ornaments and toilet 
accessories. {See Fig. 153.) 

House of Popidius Secuxdus, for- 
merly called Casa del Citarista. This is 
among the most considerable of Pompeian 
residences, occupying the sites of at least 
three earlier houses. The front portion, 
with the two handsome peristyles behind 
it, dates from the tufa period ; the part 
behind these peristyles is of Eoman date, 
containing a large and finely decorated 
mens or state-chamber, two dining-rooms, 
and a very complete stable and carriage- 
house ; so also is the addition on the 
north, itself practically a complete house 
with independent entrance. Connected 
with the older part of the house there is a 



315 



POMPEII 



bath of two rooms. The wall-painting is 
excellent ; the best subjects have been re- 
moved to the National Museum at Nai^les. 

House of Sallust, a dwelling of the 
oldest or tufa period, to which, under the 
Empire, were added on one side the later 
Komau luxuries of a peristyle with sum- 
mer triclinium and separate kitchen. The 
chief street-front is occupied by shops, 
the first of which is a complete bakery of 
four rooms, with mills and oven and a 
stair to living-rooms above. Others of the 
shops seem to have been cook-shoj)s and 
to have been conducted by the slaves of 
the occupant of the house. The atrium 
is a handsome Tuscan hall without col- 
umns ; on it open the usual rooms with a 
fine tcMinum or drawing-room at the 
back. The decoration is of the earliest 
style, imitating encrustation in colored 
marbles. At the back is a portico which 
turns the angle of the house, and within 
which lies the winter dining-room. Out- 
side this is a narrow garden, occupied chiefly 
by a sanded joatli, Avith boxes for plants on 
each side. The back wall is painted with 
trees and shrubs to give the illusion of 
space. In one corner of the garden is 
built the summer dining-room. From the 
right of the atrium a passage leads to the 
Roman addition. The peristyle here en- 
closes a flower-garden on three sides, and 
has at the back two richly ornamented 
bedrooms. A balcony, upon which the 
rooms of the upper story opened, extended 
over two sides of the peristyle. Th6 
mural paintings in this part of the house, 
in the two latest Eoman styles of Pompeii, 
present a sharp contrast with the severe 
and stately decoration of the older part of 
the house. Among them are some of the 
best examples of Pompeian flgure-painting, 
the principal subjects being Paris and 
Helen, Mars and Venus, Europa and the 
Bull, and the Punishment of Action. 
The last painting is of the unusual size of 
10 ft. by 13 ft. 

House of the Tragic Poet, a dwell- 



ing which, though only of moderate size, 
is remarkable for the abundance and ex- 
cellent taste of its decoration. It is the 
home of Glaucus in Bulwers "Last Days 
of Pompeii." The street-entrance opens 
on a somewhat long passage flanked by 
two shops and leading to the atrium. 
This has on both sides bedrooms and 
offices, and two stairways to the upper 
story. At the back of the atrium is a 
handsome taMinum or drawing-room, be- 
side which is the passage {fauces) leading 
back to the peristyle, surrounded on three 
sides by columns. Among the works of 
art found in this house are the familiar 
Cave Canem mosaic from the entrance- 
passage, and the mural paintings of the 
Surrender of Briseis by Achilles to Aga- 
memnon's Herald, the Marriage of Jupi- 
ter and Juno, and the Sacrifice of Iphige- 
nia. 

Market or Macellum, often called the 
Pantheon. In plan it is approximately 
rectangular, the faQade on the Forum 
adorned with a portico of slender Ionic 
marble columns in two stories, at the 
back of which was a range of small booths. 
The chief entrance is double, the two 
doorways being separated by a niche 
flanked by Corinthian columns. There is 
evidence that the large open area now 
forming most of the interior was sur- 
rounded by a wide portico ; this left open 
a central rectangle, in which appears a 
dodecagonal foundation, around which 
stand twelve square bases of masonry. 
These have been taken for altars to the 
Twelve Gods, or bases for their statues, 
but it is more likely that they served to re- 
ceive the supports of a light dome cover- 
ing a fountain. On the north side a 
range of booths faces outwardly on a side 
street, and on the south side a similar 
range of smaller booths, each about 9 ft. 
by 10 ft., fronts on the court. The back 
is occupied by three large compartments. 
That in the middle, plainly a temple, has 
a pronaos in which flve steps rise to the 



310 



POMPEII 



cella, which has a base for the cult-statue 
at the back, and was apparently dedi- 
cated to the cult of Augustus. The left- 
hand compartment, toward the north, is 
also a place of worship. The right-hand 
compartment, toward the south, is sur- 
rounded at the sides and back by a stone 
bench standing free from the wall and in- 
clined toward the front, as Italian stone 
market-tables are made to this day. This 
cannot be more appropriately explained 
than as a 2:)lace for the display of meat 
and fish for sale, and this identification is 
strengthened by the ]3resence of conveni- 
ences for the free use of water and for 
easy drainage. The walls of the booths 
and cliambers are painted in the latest 
Pompeian style with conventionalized 
architecture and in bands and panels. In 
the slirine of Augustus the chief panels 
bear Greek mythological subjects, such as 
lo and Argus, and Phrixus on the Earn, 
and the panels above these display fish, 
flesh, and fowl of all kinds, subjects ap- 
propriate to a market, which recur in the 
other chambers. The date assigned to 
this structure from the character of the 
architecture and decoration and the ar- 
rangement of tlie shrine of Augustus, 
falls between 14 and 23 a.d. 

Pal.tiistua, behind the (Ireat Theatre, 
between the Forum Triangulare and the 
Temple of Isis. It has been called Curia 
Isiaca, or place of initiation to tlie Mys- 
teries of Isis ; but for tliis there is no evi- 
dence. The interior is surrounded on 
three sides by a portico of slender Doric 
columns of tufa. It is ])lain that the 
portico originally extended all round, 
and that in a restoration of the temple of 
Isis, probably after the eartliquake of G3 
A.D., a considerable piece was taken from 
the pala-stra and added to the precincts of 
the temple. Inside it was found, during 
the excavation of 1797, the famous Dory- 
phoros copied from Polycletus, now in 
the National ^Museum at Naples. In date, 
the palsestra is pre-Eomau. 



Pantheon. See Market. 

The School, so-called, can hardly have 
been a school, though no better identifica- 
tion has been made out. The manifest 
dispositions for the entrance of a file of 
l)ersons by the side door and their exit by 
a door on the Forum are suitable for vot- 
ing. It forms a large quadrangle of some- 
what irregular form. In the middle of 
the south side is a large raised rectangular 
tribune or platform. On the side toward 
the Forum was a j^ortico of eight columns, 
irregularly spaced. That the building 
was of importance is shown by the fact 
that it was generously encrusted witli 
marble. The original construction was 
pre-Eoman, but important alterations 
were made at two periods, the first prob- 
ably Eepublican, and the second after the 
earthquake of (33 a.d. 

The SEXAcuLrJi or lIorsE of the De- 
CURIONS, so-called, a large structure on 
the east side of the Forum, occupies a 
rectangular area GO ft. by 05 ft., Avith 
a large semicircular apse at the back, and 
a wide rectangular recess on each side, 
separated from the central area by two 
columns. Tlie apse is. ornamented with 
columns which stand free along its walls, 
and lias in the middle a large edicule 
Hanked by columns, and with a two-tiered 
pedestal for statues. There are eight 
smaller niches for statues in the walls of 
the rectangular area, which has a rich 
pavement of marble of ditt'erent colors, 
and an altar in the middle. The bases of 
eight columns stand in front of the area 
on the edge of the Forum, but there is no 
indication of any architectural separation 
between the area and the public space in 
front. This is a strong argument against 
the identification as the Senaculum, for 
the sittings of the Decurions could not 
have been conducted entirely in public. 
The apse and the side recesses were evi- 
dently covered, but it is doubtful whether 
the central area was ever roofed. It may 
have had a roof of timber. The archi- 



317 



POMPEII 



tecture and decoration fix the date before 
50 A.D. 

Temple (Greek) on the Forum Triangu- 
lare, long called the Temple of Hercules^, 
but now thought to have been dedicated 
to Apollo or Artemis. Little remains but 
the massive stereobate of gray tufa, traces 
of the cella, and a number of architectural 
fragments. It was probably destroyed be- 
fore the emjiire, and replaced by a later 
shrine. The original temple ajjpears to 
have dated from the vi cent. B.C., and 
to have resembled Temple C. at Selinus. 
The stereobate of five steps measures at 
the top step 561 ft. by 89 ft. The tem- 
ple was hexastyle, with eleven columns on 
the flanks, and the cella was very small 
in proportion. Its side walls projected 
in two antse in the line of the third lateral 
column on each side. The columns were 
3 ft. 10 in. in diameter at the base, and 3 
ft. 1 in. at the neck ; the echinus is heavy 
and projects strongly. The rough tufa of 
the shafts, which had eighteen channels, 
was coated with fine stucco. The capitals 
are of finer stone. The gutter was orna- 
mented with terra-cotta lion -heads of 
archaic type. 

Temple of Apollo, long known as the 
Temple of Venus, on the west side of the 
Forum, a large peripteral structure facing 
the south, in a peribolos surrounded by a 
colonnade. The identification rests upon 
an inscription on the cella floor, and is 
strengthened by the presence of an om- 
phalos, and of a painted tripod on a pi- 
laster of the court. The temple, which 
faces the south, was hexastyle, Corinthian, 
with ten columns on the flanks, standing 
on a high basement with a central flight 
of steps. The cella was proportionately 
very small with a deep portico before it. 
A great part of the floor was covered with 
a very fine geometrical mosaic with a 
meander border, formed of marbles of dif- 
ferent colors. Before the entrance steps 
stands the sacrificial altar. The structure 
dates from the tufa period, but was re- 



stored in the last days of Pompeii. The 
portico of the peribolos was originally of 
two stories ; the columns of the lower 
range were Ionic, but were transformed 
into Corinthian with stucco, and the en- 
tablature was Doric. The lower parts of 
the columns were colored yellow, the upper 
parts Avere left of the white of their stucco 
coating. On the side toward the Forum 
the wall of the peribolos was represented 
by piers, the spaces between which were 
left open for passage. At the north end 
behind the portico there was a series of 
chambers, no doubt connected with the 
service of the temple, with wall paintings ; 
among these one representing Bacchus 
and Silenus is of excellent execution. 

Temple of the Fortune of Augus- 
tus, dedicated, as is shown by an inscrip- 
tion, by the Duumvir Marcus Tullius. 
The rectangular cella walls are almost 
complete, with a prostyle, tetrastyle Co- 
rinthian portico. The whole stands on a 
high basement with steps between piers 
in front, which, like that of the Temple of 
Jupiter, rises from a platform communi- 
cating with the street by a small flight of 
steps on each side. Between the flights of 
steps stands the altar, and the lower plat- 
form was no doubt enclosed by a grating. 
At the back of the cella, in an apsidal re- 
cess, was an edicule with two Corinthian 
columns for the statue of Fortune. Two 
rectangular niches on each side of the in- 
terior of the cella were probably intended 
for statues of the emperor and his family. 
Though not of great size, this temjile was 
richly adorned. 

The Temple of the Genius of 
Augustus, on the east side of the Forum, 
has been called Temple of Mercury and 
Temple of Quirinus. It was presumably 
founded very soon after the cult of the 
emperor was officially established in 7 
B.C. On the side toward the Forum is a 
wall, originally encrusted with marble, 
whose door opens on a covered vestibule 
with four columns toward the court. In 



318 



POMPEII 



the middle of the court stands a riclily 
sculptured altar of marble ; the front of 
the die bears a sacrificial scene. At the 
back is the temple proper, on a high base- 
ment. The small cella, Avhose Avails are 
nearly entire, was preceded by a tetrastyle 
Corinthian portico, to which steps ascend 
from behind, on each side of the walls of 
the cella. The walls of the court were 
ornamented with niches and other archi- 
tectural adornment, and several rooms, no 
doubt for the convenience of the priests 
and attendants, were connected with it. 

Temple of Hercules. See Temple 
(Greeli). 

Temple of Isis, identified by an in- 
scription which also shows, together with 
the character of the architecture, that it 
was rebuilt after the earthquake of G3 A. D. 
The tufa stylobate of the portico, how- 
ever, belongs to the older building, and 
seems to go back to tlie ii century B.C. 
I'he temple consists of a rectangular en- 
closure surrounded by a colonnaded gal- 
lory with a central court, in which stands 
the tcm])le proper. This has a 
cella broader than long, preceded 
by a tetrastyle portico two inter- 
columniations deep. The cen- 
tral intercolumniation is tlie 
widest, and from it descends a 
flight of steps. On each side of 
the cella a rectangixlar niche for 
a votive statue projects laterally 
beyond the anta, and a similar 
niche is placed against the back 
wall. lu one corner of the 
court stands a curious ediculo 
with a pediment and an arched 
doorway opening between Co- 
rinthian pilasters. From the 
back of the interior a stair de- 
scends to a subterranean cham- 
ber. This edicule is called a Purgatori- 
um. or place of purification. Its outer wall 
is ornamented with figure-reliefs in stucco. 
Several rooms of considerable size open on 
the enclosing court. {iSee Fig. loJ^.) 



Temple of Jupiter, at the X. W. end 
of the Forum. Its tufa masonry assigns 
it to the late Oscan period, about the end 
of the II century B.C. There is evidence 
that it was injured in the great earth- 
quake 63 A.D., the colored Avail -decoration 
and thick stucco of the columns shoAv sev- 
eral restorations, one of Avhich Avas in 
progress at the time of the final disaster 
in 79 A.D. The temple Avas hexastyle, 
Corinthian, on a high basement, Avith a 
deep portico before the cella. The plat- 
form in front Avas divided into tAvo levels. 
The loAver, reached by steps at each end, 
appears to have formed a platform for 
orators, the ujjper had the usual broad 
flight of steps between two piers. The col- 
umns of the portico Avere about 39 ft. high. 
Tlie interior of the cella was divided into a 
broad nave and two very narroAV aisles by 
tAvo ranges of eight Ionic columns between 
ant*. These columns Avere about 15 ft. 
high, and above them were ranges of Co- 
rintliian columns 13 ft. high supporting 
the tiinl)er ceiling. The back of the nave 




Fig. 154. — Pompeii, Temple of Isis. 

is occupied by three vaulted cells behind 
an order of pilasters, forming together a 
pedestal for the statue of the divinity, or 
divinities : for it is not unlikely that the 
temple was dedicated to a triad, like the 



319 



POMPEiI 



Oapitoline temple at Eome. The ascrip- 
tion of tlie temple to Jupiter rests upon 
an inscription to Jupiter Optimus Maxi- 
mus and a head of Jupiter, both found 
in the cella. Almost the whole basement 
is occupied by a vaulted chamber, lighted 
by narrow openings in the floor of the 
cella, and entered by a door in one side. 
This may have been a treasury, or a store- 
house for accessories of the cult. The 
platform measures 55| ft. by 121 ft. The 
basement with its steps, and the lower 
portions of the columns of the portico and 
of the cella walls, remain in position. 

The Te-Mple of Jupiter, Juko, and 
Minerva has been called a Temple of 
Neptune. It is established within the 
walls of a former private house, and its 
construction is plausibly assigned to the 
colony established by Sulla ; it would con- 
sequently date from after 80 B.C. Within 
the door opening on the street was a cov- 
ered vestibule with two columns on the side 
toward the temple court. This court is 
about 18 ft. deep, and in it stands a rectan- 
gular altar of excellent workmanship, sur- 
rounded with a cornice and a Doric frieze, 
and Avith graceful volutes at the angles. 
Immediately behind the altar nine steps, 
occupying the entire width of the court, 
ascend to the temple platform. The cella 
was preceded by a tetrastyle portico, two 
intercolurnniations deep. At the back of 
the cella is a pedestal for the cult-statues, 
and here were found at the time of the ex- 
cavation, in 1766, statues of over life-size 
in terra-cotta of Jupiter and Juno, and a 
bust of Minerva. A Corinthian anta- 
capital is preserved ; it has between the 
volutes a bearded face. 

Temple of Mercury. See Temple of 
the Genius of Augusfvs. 

Temple of Neptune. See Temple of 
Jupiter, Juno, and Minerva. 

Temple of Venus. See Temple of 
Apollo. 

Great Theatre, lying on the east side 
of the Forum Triangulare, and facing 



south. In plan it combines elements that 
are plainly Greek, such as the excess of 
the arc of the auditorium over a semicir- 
cle, with dispositions usually looked ujjon 
as characteristically Eoman. It is shown 
by its masonry and by an inscription to be 
entirely of pre-Eoman date, but to have 
been rebuilt and altered in some minor re- 
spects by two wealthy Eoman oftice-holders, 
two or three years before the Christian 
era. The cavea is in part set into a hill- 
side, in part built up on vaulted substruc- 
tions. A broad vault, utilized as a passage 
for ingress and egress, encircles the back 
of the auditorium beneath the highest di- 
vision of four seats. A precinction here 
opens on the passage by vomitoria opposite 
the six radial stairways which intersect the 
cavea, and has outside communication. 
A second precinction girdles the cavea be- 
neath the main division of seats, and above 
the four wide low steps next the orches- 
tra, which served, like the orchestra it- 
self, for the placing of chairs of honor. 
Communication with the exterior was pro- 
vided from this precinction also, and from 
the orchestra. Above the highest division 
of seats was a raised gallery, supported on 
arcades surrounding the exterior wall, for 
the attendants who managed the velum or 
awning. The interior of the cavea was 
cased in marble ; the section of the seats 
is a plain rectangle, without mouldings or 
sunk space for the feet of the spectators 
of the next tier above. The stage was 
raised only about 3 ft. ; its front wall has 
two flights of steps descending to the or- 
chestra, and three niches in which sat offi- 
cers of the peace, facing the audience. 
The back wall of the stage displays three 
doors which open in recesses, the central 
one round-headed, and the others rectan- 
gular. The recesses are flanked by niches. 
The floor of the stage was of wood. Be- 
neath it can be traced some arrangements 
for handling the curtain, and others wliicli 
are not yet fully explained. Behind was 
a long, narrow hall. Tlie chief dimen- 



320 



POMPEII 



nlous are : interior diameter of cavea, 190 
ft. ; distance from proscenium wall to 
back of cavea, 118 ft. ; size of stage GCi ft. 
by 211 ft. 

Small TiiEATKE, east of the Great The- 
atre. It is of Eomau date, and was a cov- 
ered theatre or odeum, intended for mu- 
sical ijerformances and minor plays. For 
convenience of roofing, the normal theat- 
rical plan was modified, and the entire 
building included in rectangular walls, 
which cut ofE the normal pointed wings of 
the cavea on eaeli side. Tlie triangular 
spaces enclosed behind the cavea were util- 
ized for stairways. The cavea presents 
only two parts — a lower one of four Mide 
lava steps for the chairs of honor, above 
which is a jn'ecinction, and an upper one 
consisting of five Avedge-shaped divisions 
for ordinary spectators. The chief en- 
trances were by vaulted side passages be- 
tween the stage and the cavea. Over 
these passages there were tribunes of hon- 
or, which could be entered only from the 
stage. Tlie seats of the upper part of the 
cavea were covered with slabs of tufa, 
moulded on the upper front edge, and 
with a sunken space at the l)ack for the 
feet of those in the seat next above. Be- 
sides the tliree principal doors, the stage 
had two small ones near the ends, which 
were probably separated by partitions from 
the remainder of the stage. The back 
wall of the stage has no architectural 
adornment, but is painted in the second 
style of Pompeian mural decoration. The 
hall behind the stage has four doors in the 
back and one at each end ; that on the 
M'cst was jireceded by a porch of three 
columns, and that on the east opened on 
a large portico on the Strada Stabiana. 
'The chief dimensions are: interior width 
of cavea, '.)2 ft. ; depth of cavea from 
proscenium-wall, 73 ft. ; size of stage, 
without the end chambers, 59 ft. by 1G| 
ft. It is estimated that the cavea could 
accommodate fifteen hundred imm)]>1('. 
Central Tiieum.i-;, unfinished at the 



time of the disaster of 79 A.D., and so of 
especial interest as presejiting the precise 
arrangements in favor at that time. They 
were surrounded on at least two sides 
with shops opening outwardly, and had 
a large interior court or palsestra on the 
west side. This court was to be sur- 
rounded with porticoes on the north, west, 
and south sides, and to have a large open 
swimming-tank on the east side against 
the bath-buildings. There were public 
entrajices on the three colonnaded sides. 
The baths consisted of only a single series 
of chambers, there l^eing no duplication 
for separate women's baths. Tiiere was 
a large vestibule before the ajjodt/ferium 
or dressing-room, in which was jilaced 
a piscina for the cold bath. From one 
end of the tcjiiddriidn or warm chamber, 
opened adorned Utcniiinnn or hot-air bath. 
The large addariiiin or hot bath had a 
piscina at each end, and a basin for wash- 
ing in a niche on one side. All the cham- 
bei's except the laconicum were lighted 
by windows opening on the court. The 
vaults wei'c ornamented Avith somewhat 
rougii stuQco reliefs ; the decoration of 
the plainly tiled lower Avails and cement- 
ed floors Avas evidently incomplete. Tep- 
idarium, laconicum, and caldarium have 
their floors elevated on small Ijrick piers, 
and tile pipes in the Avails for the circu- 
lation of heated air. The disposition of 
the heating furnaces is as usual, but on 
account of the size of the chambers and 
the x)resence of the laconicum, tAA^o inde- 
pendent and Avidely separated furnaces 
Avere introduced. 

Great Tiiehai.i:, discovered in 1857. 
consisting of three divisions — the baths 
for men, the baths for women, and a series 
of private or single baths. The build- 
ings Avere surrounded, on two sides by 
shops, and disposed about a fine central 
colonnaded court G9 ft. by 108 ft., Avhich 
served, as inscriptions show, as a pahtstra. 
'I^he west side. Avith no portico, has a paved 
alley extending its entire length, on which 



321 



POMPEII 



a heavy stone ball, still in its place, was 
rolled for exercise. Behind this is a rec- 
tangular swimming-bath flanked by wash- 
rooms and a dressing-room. Their walls 
are adorned outside with beautiful reliefs 
in stucco, representing fanciful architect- 
ure diversified with figures, white on red 
and blue ground, and encrusted below with 
marble. Seven doorways gave entrance to 
the thermae. The men's baths, like those 
of the Small Thermge, include apodyteri- 
um or dressing-room, circular domed/r i'^i- 
darmm or cold bath, tejiidcmiim or warmed 
hall, and caldarium or hot bath. Both 
tepidarium and caldarium have their 
floors raised for the passage beneath them 
of heated air, and also hot-air spaces in 
the walls ; these disj)ositions Avere intro- 
duced as alterations under the Eomans, 
for the buildings themselves are j^re-Eo- 
man. The tepidarium presents an ab- 
normal arrangement in the j^i'eseuce at one 
end of a rectangular piscina, heated from 
without by a special furnace. The calda- 
rium, almost an exact counterpart of that 
in the Small Thermae, is a long vaulted 
hall, with a piscina for the hot bath at one 
end, and a circular basin for washing in 
an apse at the otlier. Light came in by 
windows and openings in the vaulting. 
The vaults and the upj^er parts of the end 
walls of the apodyterium and the tepi- 
darium were decorated with excellent re- 
liefs in stucco, representing ornamented 
panels, fantastic architecture, and figures, 
among them cupids sporting with dol- 
phins, and undraped nymphs. The side- 
walls of the apodyterium present a series 
of rectangular niches for the clothes of 
the bathers. The women's baths adjoin 
those of the men, from which they are 
wholly separated ; between them are 
placed the heating furnaces, with their 
battery of boilers. The women's baths in- 
clude a spacious apodyterium, in which is 
a rectangular piscina for cold bathing, and 
a tepidarium and caldarium similarly ar- 
ranged to those of the men's baths, but 



smaller and less richly ornamented. The 
private baths, which are placed beyond 
the northern end of the central court, 
consist of a series of small rooms, each 
with a piscina or bath-tub. This division 
is practically without decoration. 

Small Thekm^, occupying an entire 
block of buildings north of the Forum. 
A large portion of the street fronts was 
occupied by shops of one or more rooms, 
and while there is plain evidence of the 
existence of an upper story, it is not clear 
for what this was utilized. The thermge 
consisted of two distinct parts, baths for 
men and for women, between which was 
a common system of furnaces and boil- 
ers, serving for both. The men's baths 
were much the larger and more richly or- 
namented, and have three entrances and 
an open colonnaded court of some size, 
with which was connected a waiting-room. 
The apodyterium measures about 23 ft. by 
372 ^^- '■> it "^'is vaulted and provided with 
stone benches along the sides, and was 
lighted by square windows of good size in 
the upper part of the ends, which were 
closed by heavy panes of glass set in bronze 
frames swung on side-pivots. The frigi- 
darium is circular and domed, with a 
central piscina ; its walls display large 
semicircular niches and are painted with 
green plants. Beneath the springing of 
the dome it is encircled by a frieze of stucco 
reliefs representing races between cupids, 
on a red ground. The tepidarium is a 
fine rectangular room with barrel-vault ; 
the cornice from which the vault springs 
rests on a series of vigorous but somewhat 
heavy Atlautes in terra-cotta. The vault 
was very richly adorned with stucco re- 
liefs, forming a broad band of foliage- 
scrolls below, and panels of different forms 
containing figures above. In this room 
were found three benches of bronze and a 
large bronze charcoal-stove. The calda- 
rium is a vaulted hall about 18 ft. by 55 
ft., Avith a shalloAV circular marble basin 
for Avashing in an apse at one end, and a 



S33 



PONTE 



rectangular tank for bathing at the other. 
The walls are ornamented with pilasters, 
and the vault, which is pierced in several 
places for light and air, with large verti- 
cal flutes. Tlie walls are surrounded by 
air-spaces, and the tiled floor is raised 
upon low brick piers, the spaces so formed 
communicating with the adjoining fur- 
nace. The women's baths have only three 
ajjartments, an apodyterium, a tepida- 
rium, and a caldarium, with a small vesti- 
bule ajDparently for waiting atteiidants, 
beside the single entrance ; there is no or- 
nament of consequence, and the only 
notable difference in arrangement from 
tiie men's baths is the fact that the tepi- 
darium, as well as the caldarium, has its 
floor raised for the introduction beneath 
it of hot air. Tliis is due plainly to a 
later alteration. The arrangements for 
the water and heat supply are practically 
complete, and are of much interest. 
Tliese thermal are al:)Out co)itemporaneous 
with the Small Theatre. 

Villa of Diomedes, on tlie Street of 
Tombs. This was one of tlie largest and 
richest of Pompeian abodes, and con- 
sisted of several stories, though these were 
only in small part superposed, but in large 
measure adjoined one auotlier, being built 
on ground of different levels. The street 
cuts the front of the villa at a sharp angle, 
and makes the vestibule at the entrance 
triangular. The atrium is replaced by a 
handsome peristyle of fourteen Doric col- 
umns of brick, iipon which open most of 
the rooms usually found about an atrium. 
On one side of the peristyle projects the 
tincst bedroom surviving in Pompeii ; it 
is semicircular, with three large windows 
looking out on the former garden, an al- 
cove, a standing washstand, and an ante- 
chamber. Between tlie peristyle and the 
street are a kitclien and a complete bath 
of four chambers. At the back of this 
portion of the house, behind the tablinum 
and fauces, is a spacious oecufi or state- 
chamber with a very large window toward 



tlie west, disclosing the entire Bay of Na- 
ples. At the back, and extending under 
tlie rear gallery and the cecus of the story 
first described, is a range of soberly but 
tastefully adorned rooms, which open on 
the 2)illared gallery which surrounds a 
garden over 100 ft. square. Beneath the 
whole of this gallery extends a cellar, in 
which were found many skeletons of the 
inhabitants of the house. The gallery 
had an ujDper story, which was connected 
with that which existed over the first part 
of the house. The wall painting is in ex- 
cellent taste ; it includes a number of 
examples of the floating figure tyi^e, on 
plain grounds. 
PONTE LUCAXO, near Tivoli. Italy. 

Tomb of the Plautia Family, of the 
same character as that of Ca3cilia Metella 
outside of Rome, and one of the best pre- 
served of ancient funeral monuments. It 
is a huge cylindrical tower standing on a 
cpiadrangular base of masoni'y ; the orig- 
inal domical top is replaced by the battle- 
ments of a mediaeval fortification. The 
rectangular entrance portico, with Ionic 
semi-columns, faces Tivoli ; in it are two 
inscriptions of M. Plautius Silvanus, who 
was consul in 2 B.C. 
POXTE Dl XOXA. near Rome, Italy. 

RoMAX Viaduct, an impressive work 
which carries the Via Pra3nestina on a 
level over a deep ravine. It is very mas- 
sively built of large rectangular blocks of 
the peperino called lapis r/ a bin ii.^, in hori- 
zontal courses, and consists of seven high 
arches. Even the old pavement remains. 
The style of the masonry is similar to that 
of the Tal)ularium at Rome, and tlie date 
is probably the end of the ii cent. B.C., or 
the beginning of the first. 
PORT APLOTHEKA (believed to be 
anc. Lorynia), Caria, Asia Minor. 

The Walls, at the S.W. entrance of 
the port, form an important example of 
Hellenic military architecture. The space 
enclosed is long and narrow, and the fine 
walls, of large squared blocks of limestone. 



323 



A*. 



POETO 



are standing nearly to tlieir full height. 
On each long side there are about six 
square towers, and at each end a massive 
circular tower. There are three narro^y 
gates in tlie long south wall. 
POETO (anc. Portus Trajani), Italy. 

The remains of antiquity are of much 
interest, particularly thoSe of the great 
Ports of Trajan and of Claudius, the lat- 
ter of which was built on account of the 
sanding up of the port at Ostia. The 
inner port, that of Trajan, hexagonal, 
was surrounded with huge arcaded maga- 
zines and offices, built of brick. On the 
western side of the inner port is the Port 
of Claudius, whose moles are still recog- 
nizable. It is about 4,300 ft. long and 
3,200 ft. wide. Between the two liarbors 
lay an imperial jDalace, with a theatre, 
thermge, and a forum. The ancient gate 
of the inner circuit of fortiiicatious, is a 
double arch, now called Arco di Nostra 
Donna. There are remains of a temple 
of Bacchus, of another temple with, a 
vaulted cella still possessing niches and 
relief-ornament in stucco, of a portico of 
A^alentinian III., etc. 
POSEIDONIA. See Pcesfum. 
POSILIPO. See Pausihjimm, under 

Naj)Ies. 
POZZUOLI (anc. Puteoli), Italy. 

The Amphitheatre was renewed in 
the time of Hadrian. It is probable that 
the older structure stood on the same site. 
The remains are in fair preservation, 
though injured by earthquakes and spolia- 
tion. Tlie plan is elliptical ; the greater 
axis, 482 ft., the lesser, 384 ft. Tlie length 
of the arena is 236 ft. The outer wall 
consists of three superimjjosed tiers of ar- 
cades, the lowest of large blocks of mason- 
ry, the otiiers of reticulated brickwork. 
The monument was surrounded by an ex- 
terior portico. The main entrances at the 
end of the greater axis were approached by 
a triple range of arcaded porticoes, encrust- 
ed witli marble. The arena is paved with 
brick, carried on vaults, and is full of 



square holes for trap-doors. Excavations 
have brought to light subterranean pas- 
sages, canals, drains, and dens for wild 
beasts beneath the podium. The arena 
could be flooded to a depth of about 
3 ft. The seats are in four ranges, their 
computed capacity about thirty-two thou- 
sand sjjectators. The imperial seats were 
adorned with Corinthian columns of black 
marble. 

Mole, restored by Antoninus Pius, arid 
thus anterior to the ii century a.d. It is 
mentioned by Seneca and Suetonius, and 
is built on the so-called Greek principle ; 
that is, it consists of a series of massive 
piers of masonry connected by arches, the 
object being to break the force of the 
waves while opposing to them as little re- 
sistance as possible. Thirteen piers now 
project above the water, and three can be 
distinguished beneath it. It is believed 
that there were originally twenty-five piers 
and twenty-four arches, with a lighthouse 
at the end. The piers are built of brick 
faced with stone, all firmly bedded in 
pozzolana cement. Not far from the 
mole, columns and other remains of two 
temples are visible in the water ; these are 
called the temples of Neptune and of tlie 
Nymphs. 

Te.mple of AuGrsTrs, built, according 
to an inscription, by Calpurnius. Its re- 
mains are now incorporated with the ca- 
thedral of S. Procolo, which occupies its 
site. The chief of them is a jiortico of 
six lofty Corinthian columns with their 
architrave bearing an inscription, at a 
small side door of the church. 

Temple of Serapis, attributed to the 
reigTi of Domitian, but restored under 
Trajan, Marcus Aurelius, and Septimius 
Severus. It was injured in 1198, and partly 
buried by an eruption of the Solf atara, and 
was excavated in 1750. The temple proper 
Avas circular, with a peristyle of sixteen 
Corinthian columns on a podium 3 ft. 
high. The columns have been removed 
from their pedestals and are now in the 



324 



PR^NESTE 



palace of Caserta, and the National Mu- 
seum at Naples. The temple was enclosed 
by a court, 140 ft. by 123 ft., lined 
with a portico of forty-eight columns. Be- 
hind the portico were thirty-two cham- 
bers, above which there was a second 
story. In the middle of the N. E. side 
there is a projecting portico, richly dec- 
orated with six Corinthian columns of 
cipollino 40;|- ft. high, and two pilasters. 



tiie Amphitheatre. Tlie chief portions 
visiljle are the two tiers of arches of the 
exterior wall of the cavea, some vaulted 
passages of tlie substructions of the seats, 
some of the entrances, and a jDortico. 
PE^ENESTE. See Palestrina. 
PRATO, Italy. 

The Cathedral, a Romanesque church 
showing signs of Gothic influence, partic- 
ularly on the exterior, which is otherwise 




Fig. 155.— Prato, Cathedral. 

Three of tliese columns are still standing, reinarkablo among Italian cliurchos as ex- 
The chief entrance in the S. W. side, pressing clearly the interior arrangement, 
toward the sea, had a central passage and The fa9ade has three divisions, correspond- 
two side passages decorated with pilasters, ing closely in outline to the nave and 
After the eruption the coast sank, and at aisles. The centre has a beautiful pointed 
about one-third of their lieight the stand- arched doorway with splayed jambs, com- 
ing columns mark the extent of the sink- posed with octagonal piers and slender 
ing by their girdle of borings made by round columns : the door square-headed 

with a tympanum bearing figures in relief 



marine animals. After some centuries the 
ground rose again, particularly at the out- 
break of Monte Nuovo in l.-);50. 

Roman Theatuk. The remains. M-hich 
cover a large area., now overgrown with 
trees and vines, lie on the hillside above 



by Luca della Robbia. This door is the 
oidy opening in the front. Above it the 
\\all is banded with white and dark mar- 
ble, the central portion terminating in the 
low gable of the luive roof, the side divi- 



8-35 



PRIENE 



sions in the half gables of the lower aisle 
roofs. The cornices on front and sides 
have an arched corbel-table. The tran- 
sept, high and sqimre, has hipped roofs. 
The side walls of the aisles have blank ar- 
cades of high round arches on columns, 
with small circular windows in the heads 
of some of the arches. The walls of the 
clerestory are of alternate courses of white 
and dark green marble, and pierced with 
five single pointed windows. A beautiful 
square campanile stands at the angle of 
the south transept with a doorway at its 
base, and five stories of grouped arches, 
growing larger and more decorated as they 
ascend, and terminating in a fine belfry 
with three-light openings under a pointed 
arch. On the south angle of the front of 
the church is a picturesque and beautiful 
pulpit corbelled out from the angle pier, 
with a circular balcony divided into panels 
and sculptured by Donatello, and covered 
by a circular canopy. The interior shows 
a nave and aisles of four bays, with stilted 
round arches on rather low black marble 
cokimns with foliated capitals, and a clere- 
story with single-light pointed windows, 
the wall in stripes of white and dark mar- 
ble. The transept arms have each two bays 
with four-part vaulting. The east wall 
has five arches opening into the choir and 
into four chapels square in plan, decorated 
with frescoes by Filipjjo Lippi, which are 
considered the finest of his works. The 
round pulpit is a remarkable work by 
Mino da Fiesole, resting on sphinxes and 
bearing panels filled with figure sculjiture 
in relief. The interior of the church dates 
principally from the xii cent., but a por- 
tion, including the east end, belongs to 
the next century. The exterior was com- 
pleted about 1450. {See Fig. 155.) 

Madonna delle Cakceri, an early 
Eenaissance church finished in 1491, from 
the designs of Giuliano di Sangallo. Its 
plan is a Greek cross measuring 84 ft. in 
each direction, the arms covered by barrel- 
vaults springing from the entablature of a 



rich order of Corinthian pilasters which 
surrounds the whole interior, and the cen- 
tre by a hemispherical dome on a low in- 
terior drum, lighted by small round win- 
dows between the dividing ribs and crowned 
with a small high lantern. The exterior 
is very simple and is in two stages, the 
lower faced with white and dark green 
marble and bearing an order of thin Doric 
pilasters without an entablature, the upper 
unfinished, of brick, with a low gable over 
each arm of the cross. The central dome 
is masked by a round drum, in which ap- 
pear the round windows of the dome under 
a low conical roof through which the lan- 
tern pierces. 
PEIENE, Caria, Asia Minor. 

The Temple of Athena Polias (Pal- 
las, Guardian of the City), built by the 
architect Pytheos in 340 B.C., stood on a 
platform below the acropolis. The plat- 
form was longest from east to west, and 
was enclosed by a wall embellished by por- 
ticoes, with handsome entrance-propylsea 
on the east. The temple was Ionic, hexa- 
style, peripteral, with eleven columns on 
the flanks. The bases of the columns 
were formed of two blocks resting on a 
plinth ; the shafts were fluted, formed of 
several drums, with no necking ; the capi- 
tals had graceful volutes and cushion. The 
architrave was in three planes ; the frieze 
was one-third lower than the architrave, 
and plain ; the cornice had dentils and 
lion-heads, and the cyma was decorated 
with anthemia. The material is marble. 
The propylaja of the peribolos were of 
somewliat later date than the temple. In 
plan they resembled the propylsea of the 
Athenian acropolis, and had on each face 
a portico of four Ionic columns, strongly 
tapering, with twenty-four flutes. Their 
bases rested on square plinths, and their 
height was about nine and one-third diam- 
eters. The interior had two ranges of 
square pillars resting, like the columns, 
on plinths ; the shafts taper, and the Ionic 
anta-capitals are of novel design, with a 



826 



PUTEOLI 



female figure between volutes on the face 
and affronted griffins on the sides. The 
walls had pilasters both inside and outside. 
On each side of the main structure was a 
tetrastyle portico whose columns also rested 
on square plinths. The material was marble. 
PUTEOLI. See Pozzuoli. 
PYDNAI, Lycia, Asia Minor. 

Lycian Fortress to the west of the 
mouth of the Xanthus, in excellent 
preservation. It is a polygon, about 500 
ft. in diameter, with walls of well-jointed 
polygonal masonry, about 3 ft. thick. 
There are eleven rectangular projecting 
towers, unevenly spaced, Avith doors open- 
ing on the interior of the enclosure, and 
large windows and loopholes. The towers 
are of two stories, the upper one commu- 
nicating with the top of the walls. Some 
still rise to a height of 30 ft. The exist- 
ing battlements, built with mortar, on 
parts of the wall, are no doubt later. The 
fortress has but two entrances. Narrow 
steej) flights of stejis give access to the top 
of tlie walls. 
EABBATH AMMON, Palestine. See 

Ann nan. 
KAGUSA, Dalmatia. 

Dominican Con'vent, a xiv cent. 
Gothic building, the church having been 
opened in 130G and tlie convent finished 
about 1348. In the xv cent, a round- 
arched campanile Avas built. The churcli 
consists of a single large nave Avith polyg- 
onal eastern end across Avhich, defining 
the choir, is a triple arcli. There are 
also two side chajjels and a fine round- 
arched south doorAvay Avith an ogee 
crocketed hood-mould and jamb - shafts. 
Across the Avest end of the nave is a Re- 
naissance triple arcade Avhicli formerly 
stood on the north side and once contained 
three altars. The cloister has an arcade 
of large round arclies supported on piers 
and enclosing triple sub -arches, Avith 
tracery of quatrefoils and interlacing cir- 
cles, supported on rouiul colonnettes Avith 
carved Gothic capitals. 



The Franciscan Convent was found- 
ed in 1317, but in 1667 an earthquake 
and fire destroyed much of the church. 
The interesting features of the church are 
a fine doorAvay of late Italian Gothic, and 
the campanile, Avhich is the uninjured orig- 
inal, and is a Avork of mixed pointed and 
round-arched architecture. The beauti- 
ful cloister also remains unharmed from 
the XIV century. Each bay consists of 
six round arches supported on couj^led oc- 
tagonal columns, and enclosed by a great 
round arch with its tympanum pierced by 
a quatrefoiled circle. The capitals are 
Avell carved, in luxuriant Romanesque style, 
Avith foliage, animals, and grotesques. 
Three arches in the east wall open into 
the chai:)ter-house. On a pier in the 
court is preserved the name of the archi- 
tect. Master Mydra, an Albanian. 

Rector's Palace. A Ragusan munic- 
ipal building of the xv cent., shoAving in 
its architecture a mingling of the Gotliic 
and Reiuiissance. It is tAvo stories high. 
In the first the centre of the fa9ade is 
occupied by an arcade of six round arches 
o]jening into a loggia, at each end of Avhich 
is a solid Avina: containing a ground floor 
and mezzanine. In the arcade the col- 
umns belong to 1455, AA'hile the arches 
Avitli Renaissance mouldings and scul^iture 
Avere built during the restoration after a 
fire in 14G2. Tlie second story of the 
front, above a string course, has eight 
Gothic AvindoAvs in two lights divided by 
shafts Avith tracery above. In the back 
Avail of the loggia is a richly sculptured 
pointed doorAvay, leading to a square 
court enclosed by tAvo stories of vaulted 
galleries Avith arcades, the upper of Avhich 
has two arclies to one of the loAver, on 
coupled columns. Tlie loggia Avails are 
pierced by pointed doors and AvindoAA's. 
Tlie interior has been modernized, and lias 
little of interest except tAvo pictures, one 
of Avhicli is a lunette in one of the ante- 
rooms and represents the baptism of Christ. 
The Gothic palace Avas begun in 1435 by 



327 



KAVELLO 



Ouofrio Giordaui of La Cava to replace 
tlie older building destroyed in tliat year, 
but in 1-4(32 tliis second palace was partially 
burned, and rebuilt by Miclielozzo Micliel- 
ozzi and Giorgio Orsini. 

The Sposza, or custom - house and 
mint of Eagusa, was begun in the xia' 
cent., and added to at different j^eriods 
during the next two centuries. It is a 
three-storied building enclosing an oblong 
court surrounded by an arcade and clois- 
ters of two stories. Across the front is a 
fine XVI cent. Eenaissance loggia, and the 
second story is joierced by windows of rich 
Venetian Gothic which date from the x\^ 
century. Of this period also are the ar- 
cades in the court, of which tlie loAver 
tier are round, and supported on octag- 
onal columns with very plain capitals ; 
at the ends the arches of the second story 
are round ; on the long sides they are 
pointed, a pair to each one in the arcade 
beneath, separated by round columns with 
foliated capitals. The third story is of 
the XVI century. 
EAVELLO, Italy. 

Casa Euffolo, a palatial country- 
house dating from the second half of the 
XIII cent., of irregular plan, covering an 
area about 130 ft. square, with various 
outbuildings. The entrance to the 
grounds is through a tower about 25 ft. 
square and 65 ft. high, with flat walls of 
red and black stone pierced by the great 
pointed entrance-arches, encircled at the 
summit by a band of small interlacing 
pointed arches of terra-cotta. The interior 
of the tower is an interesting example of 
tlie influence of Saracenic art. It is ceiled 
by a slightly pointed dome whose crown is 
40 ft. above the pavement, its surface 
broken up by vertical channelling. The 
wall below is decorated at two levels with 
blind arcades of high interlacing pointed 
arches, springing from small coupled col- 
umns. The most important feature of the 
interior of the palace is an enclosed court 
50 ft. by G2 ft., wdiose decoration is un- 



paralleled in Italy. It is surrounded on 
three sides by two stories of vaulted ar- 
cades, the first of simple high pointed 
arches somewhat stilted, three on each 
side, supported on marble columns with 
simple leafed capitals ; the second with 
slender coupled columns sujjj^orting a wild 
mass of interlacing tracer}'', mostly spread 
over the surface of the w^all. Above this 
is a blind arcade of very small, coupled 
twisted columns of red terra-cotta, with 
tracery similar in character to that below. 
Over this again, on a light string-course, 
are three semicircular blind arches on 
each side, each enclosing a round open- 
ing. The various apartments of the 
palace were richly decorated, with marble 
columns and ornaments in terra-cotta. 

The Cathedral, dedicated to SS. 
Maria and Pantaleone, is an xi cent, cruci- 
form church, much modernized, but re- 
taining in a considerable degree its ancient 
character. The nave has, or had, nine 
round arches on each side, somewliat stilted 
and divided into three bays by oblong piers 
alternating with pairs of columns, the 
latter of red marble, with capitals of 
various character. The piers are faced 
with pilasters which carry the ribs of the 
later vaulting. Under the transept is a 
crypt with seven aisles of three groined 
bays each. The church contains a fine 
pulpit dating from 1272, of white marble 
with mosaic decoration, supported on six 
sjjiral columns standing on the backs of 
lions, and approached by a staircase en- 
closed in a marble fence also decorated 
with a mosaic inlay. Of the fagade only 
the lower portion belongs to the original 
building. This contains three fine Lom- 
bard doorways ; the middle one is closed 
by the finest bronze doors in South Italy. 
They are divided into fifty-four panels en- 
riched with figure-subjects in high relief, 
and bear the date 1179. The fine tower 
attached to the wall of the south transept 
is in four stages ; the lowest finishes witli 
an arched corbel -table, the second and 



328 



RAVENNA 



third have a facing of red and yellow tiles, 
with two-light windows under a beai-ing- 
arch ; the fourth has a blind arcade of 
interlacing arches in black and yellow 
terra-cotta, on black columns. Ravello 
was raised to a bishop's seat in 1087, and 
the cathedral, begun a few years later, 
was consecrated early in the xii century. 

S. Agostino. a small Lombard church 
of the XI cent., with nave and aisles of 
three bays, the former divided by two 
transverse arches and covered by a slightly 
pointed barrel-vault, the latter groined in 
square bays. The three round arches on 
each side the nave are supported on granite 
columns with composite capitals and 
square stilt-blocks. Tlie transept, which 
is the choir, and projects very slightly 
beyond the aisle wall, is shut off from 
nave and aisles by a solid wall pierced 
only by a doorway in the axis of the nave. 
An ellii^tical dome covers the centre. 
The original facade has disappeared. 

Sta. Makia del Guadillo, a small 
Eomanesque church of Sicilian aspect, dat- 
ing from the middle of the xii cent., di- 
vided by four round arches on each side 
springing from square piers. The nave 
and aisles, which are covered by a single 
roof, and ceiled with wood, abut uj^on a 
transept which projects slightly and is 
divided into three square bays, of which 
the central one is covered by a low dome 
on a high round drum, the two side bays 
being groined. Eacli bay has a Hat apse 
in the east wall, and tlie floor of the cen- 
tral bay, which forms the choir, is raised 
by several steps above the nave. At the 
S. W. corner of tlie churcli is a small 
square tower, from the Avestern side of 
which opens a small apsidal chapel. The 
front has a single gable covering the whole 
breadth, the side walls have a series of 
pointed discharging arclies under which 
are small single round-headed windows. 
The transept ends show the intersecting 
vaults unroofed. Over the crossing rises 
tiio drum with its low dome — tlie walls 



covered with intersecting arches. The 
square tower has two stories of two-light 
windows under round bearing - arches, 
separated by a frieze of an inlay of white 
marble on a Ijlack ground between bands 
of tiles of various colors, and a later round 
belfry at top. 
EAVENNA, Italy. 

Ariax Baptistery. See Sfa. Maria 
ill Cosnicdiii. 

The Baptistery now called S. Gio- 
vanni in Fonte, and known as the Ortho- 
dox Baptistery, was attached to the old 
Cathedral, which has been rebuilt, and 
was i:)resumably contemporary with it. It 
is a simple octagonal building, about 40 ft. 
in external diameter, the walls of rough 
brick, quite plain in the lower half, with 
a single round-arched window in each face. 
Tlie upper portion is divided by pilaster- 
strips ending in an arched corbel-table 
into two i)anels in each face, and covered 
by a low octagonal roof hiding the dome 
within. The interior is a single undivided 
hall with two stories of round arches, one 
to each face of the octagon, springing 
from detaclied shafts in the angles. These 
columns were doubtless gathered from old- 
er buildings, as they are of various sizes, 
and fitted with capitals of various form, 
Corinthian in the lower story, Ionic in the 
upper, all carrying stilt-blocks. In the 
lower story two of the eight sides are oc- 
cupied by semicircular niches, of which 
one contains an altar. In the ujiper story 
each face is divided by columns into three 
sub-arches, the middle one much the 
largest, containing a broad round-arched 
Avindow. T'he groat arches of the second 
story cut up into the hemispherical dome, 
Avhich springs from their columns, and 
Avhich, as Avell as all the walls above the 
lower columns, is covered Avith the admi- 
rable and well-preserved mosaics of the v 
century. Those of the dome are in two 
zones, encircling the central picture at the 
crown of the vault. Avhich represents the 
baptism of Jesus in the Jordan. The 



329 



RAVENNA 



zone next to the central picture is occu- 
pied by full-length, standing figures of the 
apostles, wearing crowns ; while the lower 




Fig. 156. — Ravenna, Baptistery. 

zone and the wall within the second story 
arches are covered with extremely varied 
designs, arranged in panels, with figures, 
and scroll-work, and architectural com- 
positions. In the angles over the lower 
columns are figures of the prophets in 
white drapery relieved on a gold ground. 
The centre of the floor is occupied by an 
octagonal font about 9 ft. in diameter, 
formerly used for baptism by immersion. 
It is of white marble with panels of por- 
phyry, and on one side of it is a semi- 
circular ambo for the officiating priest. 
The floor of the building is now nearly 10 
ft. below the level of the ground outside. 
This baptistery, first built by Ursus at 
the end of the iv cent., was partially 
destroyed by war, and repaired in 425-30 
under the empress Galla Placidia. It is 
thus the oldest of all the existing build- 
ings at Ravenna. {See Fig. 156.) 

The Cathedral (Ecclesia Ursiana), 
was the oldest of the Christian buildings 



of Ravenna, having been built by Ursus, 
archbishop, as early as the iv century. It 
Avas a five-aisled basilica, but was entirely 
rebuilt during the xviii cent, 
as a Renaissance church, with 
nave and single aisles, transept, 
and choir, with a jDolj'gonal east- 
ern aj^se, and a circular' lantern 
over the crossing ; the latter 
having a high tambour divided 
by pilasters with pedimented 
windows between, and a high 
dome surmounted by a cupola. 
The ancient round campanile is 
all which remains of the old 
basilica, and this has been par- 
tially rebuilt by the addition of 
a belfry with triple - arched 
openings under bearing arches ; 
the fa9ade is altogether unin- 
teresting. The interior has 
some fine pictures by Giiido and 
his pupils, and by other masters 
of his school. Portions of the 
marble puljwt of the old basil- 
ica, and fragments of its ancient doors 
of vine-wood, are still preserved in the 
modern church ; and in the sacristy is 
the ivory chair or throne of the bishop, 
Maximianus, a work of the vi cent., and 
one of the most exquisite remains of early 
Christian art which have come down to 
Its front has five panels containing 
figures of saints, and sur- 
rounded by bas-reliefs of foliage and ani- 
mals of great delicacy and beauty, and 
executed with admirable skill. 

The Mausoleum of Galla Placidia, 
now the church of SS. Nazaro e Celso, 
is a small monument, but one of extreme 
interest. The building is of the simplest 
design and construction. Its plan is near- 
ly a Greek cross, each wing scarcely more 
than 12 ft. wide inside, the extreme inter- 
nal dimensions being about 33 ft. wide and 
40 ft. long. The exterior presents a low 
square central tower of rude brickwork, 
against the four faces of which abut the 



us 
full-length 



330 



RAVENNA 



four arms of the cross, witli low Avails, 
broken by blind arches and terminating 
each in a gable end. The interior has an 
entrance vestibule occupying most of tlie 
western arm of the cross, in which are two 
sarcophagi, which have been said to con- 
tain the bodies of the tutors of Valentin- 
ian and Honoria, the children of the em- 
press. The other three arms open from 
the central square by round arches, and 
are covered by barrel-vaults. Above the 
arches rises the central tower, pierced by 
a single square window on each side and 
covered by a low dome with pendentives ; 
perhaps the earliest authentic instance in 
Europe of a dome so built over a square 
base. All the walls, as high as the spring of 
the arches, are faced with slabs of marble. 
Above this point, the whole interior is 
covered with the original mosaics of the v 
cent. , of whicli some are of great beauty 
and richness. Those of the walls of the 
tower and on the end walls of the arms of 
the cross are of figure-subjects, while those 
of the vaults are for tlie most part in geo- 
metrical patterns with gold and colors. 
The eastern recess contains tlie large sar- 
cophagus in whicli the body of the em- 
press Avas deposited in a sitting posture. 
It is of marble, rude in design and execu- 
tion, but was originally adorned with 
plates of silver and otlier ornaments, Avhicli 
have now disappeared. In tlie transept 
are tlie sarcophagi of Constantius the 
husband, and llonorius the brother, of 
tlio empress. These are said to be the 
only tombs of imperial Romans whicli re- 
main in their original positions. Under 
the dome is an altar of alabaster, of sim- 
ple design, adorned with early bas-reliefs, 
supposed to be of the vi century. Tlie 
mausoleum was built by the empress her- 
self, between -i'i'y and her death in ioO. 

Orthodox Bai'tistehy. See Baptit:- 
terij. 

S. Apollinaue i:n" Classe. Of the 
remarkable group of nearly contemporary 
ecclesiastical buildings at Ravenna, this is 



perhaps the most important and interest- 
ing, being that which has undergone less 
change than any other. It is almost ex- 
actly contemporary Avith S. A23ollinare 
Nuovo and S. Vitale, having been built 
in the second quarter of the vi cent., 
and dedicated in 549 by the bishop Max- 
imianus. It is a rectangular basilica, 
standing on the site of the abandoned 
port of Classis, some three miles south of 
Ravenna, and measuring about 215 ft. in 
length by 105 ft. in breadth, Avith naA^e, 
aisles, tribune, and clerestory, a high nar- 
thex sAvung across the front Avitli no 
architectural relation to the cburch, and a 
round camjianile standing detached at the 
N. E. angle. The cliurcli Avas formerly 
approached through an atrium or fore- 
court, but this has long since disappeared. 
The Avhole exterior is of rough brickAvork 
and of the simplest design, the front and 
narthex being singularly bare and rude, 
and the sides of aisles and clerestory di- 
vided by flat pilasters into round-arched 
panels Avitli plain windows. In the ujiper 
stories of the campanile are coupled Avin- 
dows with mullion-shafts. The interior 
has a nave 45 ft. broad, and side aisles from 
Avhich it is separated by twelve columns 
on each side, of gray veined marble, rest- 
ing on square plinths Avitli panelled faces, 
of whicli a portion has probably been 
buried by the raising of the pavement. 
Their ea])itals, of modified classic forms 
and Byzantine character, carry low stilt- 
blocks marked Avith crosses, from which 
spring round arches with moulded arclii- 
volts and A'ariously panelled soffits. The 
high Avail of the clerestory now presents 
a bare surface of plaster, piei'ced with 
plain round-headed AvindoAVS. The roofs 
are of Avood, and are of tlie rudest kind. 
The tribune, of nearly the full Avidth of 
the nave, and covered by a semi-dome, is 
round Avithin and poh'gonal without, and 
pierced Avitli windoAvs. The floor of the 
tribune is raised by eleven steps above 
that of tlie nave, but there is no crypt. 



831 



RAVENNA 



though there is beneath the tribune a nar- 
row passage following the circular wall of 
the apse, from which opens a small rect- 
angular burial chapel under the high al- 



vation, and are perhaps, in design and exe- 
cution, as good an example as can now be 
found of the Byzantine mosaics, though 
inferior in richness of color to those of 




Fig. 157. — Ravenna, S. Apollinare in Classe. 



tar, in which were deposited the remains 
of the saint. The sepulchral urn Avhich 
contained them is still here, but the body 
was said to have been removed in the ix 
cent., to save it from apprehended dese- 
cration by the Saracens, and deposited 
within the church of S. Martino, inside 
the city, of which the name was then 
changed to S. Apollinare Nuovo {q. v.). 
But some antiquaries maintain that the re- 
mains were taken from the burial chapel 
only to be deposited beneath the high altar 
in the tribune. The apse is flanked by a 
small chapel on either side, opening from 
the end of the aisle by a doorway, and ter- 
minating in a small eastern apse. Of the 
sumptuous decorations which formerly 
adorned this church, scarcely anything re- 
mains except the mosaics of the vault of 
the tribune and of the wall above the trib- 
wne arch. These are in admirable j^reser- 



S. Apollinare Nuovo. On the clei'estory 
wall directly above the nave arches, on 
either side, runs a line of medallions in 
fresco containing modern portraits of the 
bishops and archbishops of Ravenna from 
the I cent. , replacing the original mosaics 
which were carried off in the xv cent, 
by Sigismiind Malatesta. At the east end of 
the north aisle is an altar of stone, covered 
by a curious baldacchino erected in the ix 
cent, to 8. Eleucadio. It has four col- 
umns with twisted shafts, without bases 
but resting on rude square plinths, and 
with curiously carved capitals. These are 
joined by four segmental arches, with bor- 
ders of a broad interlaced Byzantine de- 
sign, and spandrels decorated with a vine 
pattern. The sculpture is repeated on 
the inner faces of the arches. {See Fig. 
157.) 

S. Apollixare Nuoyo, one of the 



332 



EAVENNA 



two princii^al basilicas of Ravenna, built 
at the beginning of the vi cent, by Theo- 
doric as the Arian Cathedral. It was a 
fully developed basilica, with atrium and 
narthex, of which the former has disajv 
peared and tlie latter has been replaced 
or rebuilt. The exterior, like that of 
most of the monuments of Eavenna, is 
simjile and even rude, of rough brick- 
work, with little or no attei^ipt at orna- 
ment. The fa9ade shows above the mod- 
ern narthex three divisions corresponding 
to the nave and aisles, of which the cen- 
tre division has a modern two-liglit win- 
dow and a low gable. The nartliex is a 
graceful composition of five round arelies 
on Ionic columns, the three central arches 
corresponding to tlie bread tli of 
tlie nave and divided from the 
end arches by pilasters. At the 
south angle of the front stands a 
tall round campanile, with many 
small round-arched windows, sin- 
gle and grouped, of wliich only 
the lower portion is of equal age 
with the cliurcli. The interior 
has a broad nave, separated from 
the aisles on either side by twelve 
columns of gray marble, brought 
from Constantino[)lc. 'I'hey have 
acanthus capitals of varying size 
and design, probal)ly taken from 
older Roman buildings, and are 
surmounted l)y clumsy stilt- 
blocks, carrying round arches 
with moiildedarcliivoltsand [)an- 
elled soffits. Between these arch- 
es and the high clerestory, which 
is pierced by l)road r()und-archo<l 
windows, is a broad friez.e tilled 
witli a magnificent series of mo- 
saics dating from the latter half 
oF the VI cent., and of a great 
variety of subjects — processions of saints 
bearing crowns and receiving the benedic- 
tion of the Saviour seated on a throne — 
processions of virgins with crowns, headed 
by the three Magi presenting their ott'erings 



to the Virgin ]\Iary and the Child — i-ejire- 
sentations of the city of Ravenna with the 
church of 8. Vitale, and the port of 
Classis with sliij^s on the sea, etc. The 
wall of the clerestory also is covered with 
mosaics — single figures of prophets be- 
tween the windows, and pictorial subjects 
on a smaller scale above. The nave is 
covered by a flat panelled wooden ceiling. 
The eastern apse, rebuilt in the ix cent, 
on the old foundations, is preceded by 
a rectangular comjiartment covered by 
a groined vault. This portio)i of tlie 
church has been wholly modernized in the 
worst style of the Renaissance. An early 
marble pulpit Avitli bas-reliefs stands be- 
tween two of the columns on the south 




Fig. 158. — Ravenna. S. Apollinare Nuovo. 

side of the nave. I'his church was origi- 
nally called S. .Martino in Coelo Aureo. but 
when the body of St. Apollinaris was 
supposed, rightly or wrongly, to have 
been transferred hither from liis church 



333 



RAVENNA 



at Olassis to preserve it from desecration 
by the a2Di3roaching enemy, it received its 
present name. {See Fig. 158.) 

S. Francesco. One of the earliest of 
the many basilicas of Ravenna, dating 
from the first quarter of the v cent., but 
much changed by modern restorations. 
Its ancient square campanile still stands at 
the angle of the front, and its two ranges 
of marble columns, eleven on either side 
the nave, are unchanged. They are evi- 
dently from some more ancient classic 
building and their capitals bear stilt- 
blocks, which are said to have been the 
earliest examples of that characteristic 
feature. The ceiling is modern. Many 
interesting tombs and other relics of the 
age when the church was built are still to 
be seen within it, among them a sepulchral 
urn containing the ashes of S. Liberius, 
archbishop of Ravenna, and decorated 
with bas-reliefs ; under the choir are re- 
mains of the crypt, or of the lower part of 
the original church. 

S. GriovANXi EvAXGELisTA. One of the 
less important of the remarkable group of 
basilicas, which were built in Ravenna 
during the v and vi centuries. It has 
been much changed by restorations, but 
still retains its twenty-four marble col- 
umns with Corinthian capitals and stilt- 
blocks, its eastern apse, polygonal with- 
out and circular within, and its square 
campanile. The front has a pointed door- 
way belonging probably to the xiii cent., 
richly decorated with sculptures. The 
mosaics of the interior have disappeared, 
with the exception of some fragments of a 
pavement in one of the chapels. The ceil- 
ings and vaults have at various periods 
been adorned with frescoes, of which those 
in a chapel have been affirmed to be the 
work of Giotto. The ancient altar, richly 
decorated with marble and porphyry, is 
still preserved in the crjrpt. The church 
is said to have been founded in the early 
part of the v cent., by the empress Galla 
Placidia, in fulfilment of a vow made dur- 



ing danger of shipwreck, while on a 
voyage from Constantinople to Ravenna. 
It is supposed that an atrium occupied 
originally the site of the little square in 
front of the church. 

S. GriovAis^Ni IN FoNTE. See Baptis- 
tery. 

S. Spirito, called also S. Teodoro, is 
perhaps the oldest church in Ravenna. It 
is a three -aisled basilica, its somewhat 
stilted arcades carried on fourteen early 
columns with stilt-blocks, and the apse 
built in between two square chapels. On 
the outside of the south aisle -wall are 
traces of an open colonnade, perhaps add- 
ed, perhaps incorporated. It was adopted 
by Theodoric at the end of the v cent., 
from a very early church built by Agapi- 
tus in 206 — some think it was first built 
by Theodoric — as the first Arian church 
in Ravenna. Near by is Sta. Maria in 
Cosmedin (q. v.), the so-called Arian Bap- 
tistery. 

S. Teodoro. See S. Spirito. 

S. Vitale, one of the most interesting 
and characteristic of Byzantine churches. 
Its external walls, entirely of brick-work 
laid with joints as thick as the bricks, are 
quite bare. Its disposition is that of a 
central octagon about 50 ft. in diameter, 
covered by a dome not visible externally, 
and surrounded by two stories of exterior 
aisles or galleries. The angles of the octag- 
onal galleries are masked by projecting 
buttresses, which are connected with the 
piers of the central octagon by round 
arches in each gallery. The exterior faces 
of the gallery walls are broken by flat pi- 
laster-strips and simple brick cornices. 
The wall of the central octagon above the 
roof of the gallery is pierced by a window 
over each face of the octagon, and covered 
by a low-pitched roof hiding the dome with- 
in, which is of remarkable construction, 
being built wholly of hollow earthern pots, 
laid spirally in cement, a light construc- 
tion common in the East from early times. 
A small narthex or entrance porch, de- 



334 



RAVENNA 




Fig. 159. ^Ravenna, S. Vitale. 

stroycd in the eartliquake of 1688, for- 
merly occupied the western face of the 
octagon, and the apse of the choir pro- 
jects from the eastern face. The nartliex 
was Hanked by two circuLir towers — one of 
which still remains — not rising above the 
roof of the upper gallery, to which, a spiral 
stair in each tower gave access. Two 
similar towers, but lower, stand at the sides 
of tlie eastern apse. Tlie original narthex 
Avas replaced by a longer one following the 
street line obliquely to the church, and 
touching it only at one of the angles of 
the aisle. The interior plan is somewliat 
complicated. {See FUj. 160.) The central 
dome is carried on eight massive piers of 
peculiar form, which are joined by round 
arches. The intervals betM'een the piers 
are occupied, on seven of the eight sides, by 
semicircular niches in two stories, project- 
ing into the surrounding aisles and borne 
on three round arches springing from col- 
umns. The surrounding aisle is divided 
into bays by round cross arches which con- 



nect each of tlie great piers 
with the external wall, and cov- 
ered by four-part vaulting of 
singular form, each of the eight 
bays being divided into three 
vaults. The same arrangement 
is repeated in the gallery of the 
second story. From the east- 
ernmost side of the central 
octagon opens the tribune or 
choir, consisting of an oblong 
groin-vaulted bay, opening on 
cither side by three arches into 
the surrounding aisle, and ter- 
minating in a semicircular apse 
covered by a semi-dome. This 
remarkable interior has been 
much disguised by modern 
painting, but its decoration, 
except Avhere in recent times 
it has been subjected to recon- 
struction, is in the highest de- 
gree characteristic of Byzantine 
architecture. The Avails and 
vault were everywhere covered Avitli mo- 
saics of great richness and beauty. Of 
these only a small part remains. Those 
of the choir and tribune are, however, 
still in admirable preservation. They rep- 




Fig. 160.— Ravenna, S. Vitale. 
Scale of 50 feet. 



335 



kaven:n"a 



resent the Saviour crowned, with angels 
and archangels, the apostles and saints, 
the emperor Justinian and the emjDress 
Theodora, and various scriptural subjects. 
The columns of the choir are of verd-an- 
tique and Egyptian marbles, the walls and 
the great piers and the soffits of the arches 
were faced with marble slabs, and on the 
former are traces of a frieze. The mosaics 
of the dome have been replaced by a 
coarse decoration in fresco of the xviii 
century. The columns, particularly those . 
of the first story niches, are extremely 



perhaps original ; but the apse has been re- 
built, the clerestory windows changed, and 
chapels added. The outside, with a gabled 
front, retains a good deal of its old aspect. 
Sta. Maria in CosiiEDix. An early 
octagonal building of rude brickwork be- 
longing to the same period with the many 
others erected under the Gothic The- 
odoric. This was the Arian Baptistery, 
but became a Koman church in the vi 
cent., when a rectangular nave was added 
to the original octagon. It is a small 
building about 24 ft. in diameter, with 



noteworthy. They are about twenty-two shafts in the interior angles with Corin- 

inches in diameter, with no regular base, 

but resting on an expanding series of thin 

disks of stone. The characteristic capital 

is trapezoidal, and covered with a fine ■ 

interlaced basket-work, and with panels 

filled with conventionalized foliage, and 



surmounted by a high stilt-block. I'he 
upper columns are modifications of clas- 
sic forms. They also are surmounted by 
square stilt-blocks with their sides carved 
with slightly indicated leafage. The By- 
zantine style was introduced into Eavenna 
through the intimate connection main- 



thian capitals, carrying no stilt - blocks, 
and a round arch in each face of the octa- 
gon. Above these arches is a second 
range, also on Corinthian columns, and 
above these the octagonal dome, covered 
with mosaics which date from the period 
of the conversion of the building to the 
uses of the Roman church in the vi cent. 
by Archbislio}^ Agnello, who converted the 
baptistery into an orthodox church by 
adding to it a nave of equal breadth. 
The walls were quite plain, but have been 
decorated with frescoes of late date. A 



tained by the bishops with the court of ' large circular granite plinth in tlie centre 



Constantinople. This connection was close 
toward the end of the reign of Theodoric, 
and it was in the year of his death, 53G, 
that the church of S. Vitale was begun. 
It was thus almost exactly contemporary 
with Sta. Sofia at Constantinople. The 
church was built without interruption, 
and was consecrated by Maximianus, the 
successor of Ecclesius, in 547, two years 
before the consecration of S. Apollinare in 
Classe. {See Figs. 159, 160.) 

SS. Nazzako e Celso. See Mauso- 
leum of Galla Placidia. 

Sta. Agata. An open-roofed basilica 
with a dee}) apse and without transept. 
Twenty irregular antique columns carry 
the arcades of the nave on stilt-blocks 
which are marked with a cross. The 
crypt remains, and the inner vestibule, 
opening into the nave by a simple arch, is 



of the pavement is supposed to have been 
the foundation of the font, which has 
now disappeared. 

Sta. Maria della Rotostda. See 
Theodoric' s Tomb. 

Theodoric's Palace, so-called. All 
tliat remains of this building, which was of 
great extent and magnificence, is a portion 
of two-storied brick wall about 60 ft. long, 
which now makes the front of the Fran- 
ciscan convent attached to the adjoining 
church of S. Apollinare Niiovo. A cen- 
tral division contains a round-arched door- 
way with voussoirs of red and white mar- 
ble, with square jamb pilasters and 
Byzantine capitals, Avithout projection. 
Above the doorway is a broad and deep 
semicircular recess with angle shafts, cov- 
ered l)y a semi-dome. Oil each side are 
coupled arches at the ground level, now 



336 



MURANO—S. DONA TO 



EHAMNUS 



walled np, and high above, a group of 
four blank stilted round arches, carried 
on columns with stilt-blocks^ corbelled out 
on a projecting sill. A simple 
horizontal cornice, probably mod- 
ern, finishes the front. Against 
the wall, in the right-hand divi- 
sion, is set what was believed to 
be the sarcophagus of Theodoric, 
but wliich is with more reason 
now 211'psumed to have been a 
batli. Tliis fragment of wall is 
probably a portion of a wing of 
the building, the exact location 
of Avhich is not known. The 
columns, mosaics, and other dec- 
orations were carried oft' by Char- 
lemagne, witli tlie consent of 
Pope Adrian I., to adorn his vari- 
ous buildings at Paris, Ingel- 
heim, and Aachen. 

TiiEODOiuc's Tomb, called also Sta. Ma- 
ria ilella llotonda, one of the most re- 
markable of the early monuments of Ila- 
venna, standing about half a mile without 
the walls of tlie city. It is a circular 
building of stone, some 34 ft. in diameter 
internalh', standing on a high decagonal 
basement, on which stood originally an ar- 
cade supported on columns, surrounding 
the circuhir building, and approached l)y 
two exterior staircases carried on broad 
flat arches resembling flying buttresses, 
which staircases are probably modern. 
Each face of the basement wall is pierced 
witli a round-arched niclie, square in plan, 
tlie voussoirs of the arches curiously Jog- 
gled. The wall of the upper building is 
plain, pierced with small windows, per- 
haps of later date, above the roof of the 
missing arcade. It is crowned by a heavy 
decorated cornice of very peculiar design, 
and above this is a flat elliptical dome 
formed of a single block of Istrian lime- 
stone, around the edge of which are ten 
projections of uncertain character, which, 
it is conjectured, served as handles for the 
convenience of raisins; aiul settins: this 



ponderous stone, whose weight has been 
estimated at above four hundred tons. 
The interior is divided into two stories, of 




Fig, 161 — R.ivenna, rheodonc s Tomb, 

whicli tlie lower is cruciform in plan ; its 
floor is some feet below the present level 
of the grouiul. 1'he upjier story, entered 
only by a square doorway from the exte- 
rior terrace, is circular, without architect- 
ural or other decoration, aiul roofed by 
tlie low dome. Ojjposite the door of en- 
trance is a square niclie, perhaps of later 
date than the building. The tomb was 
built, according to some authorities, by 
Theodoric himself ; according to others, by 
his daughter Amalasuntha. In either 
case, it belongs to the first third of the vi 
centurv. {Sec Fir/. 161.) 
lUIAMNUS, Attica, () recce. 

Temple of Nemesis, on a terrace above 
the town and the sea. It was a Doric 
peripteros, 75 ft. by 37 ft., with twelve 
columns on the flanks, and six on the 
fronts. Eight columns are still standing. 
The cella had a pronaos and an opistho- 
donios. The statue of the goddess, attrib- 
uted to Phidias, was carved, according to 
tradition, from a block of Parian marble 
which had been brought by the Persians 
to set up as a trophy for their expected 
victory in Attica. 



337 



RIETI 



Smaller Temple, upon the same ter- 
race with the Temple of Nemesis. It 
consisted of a cella with two Doric col- 
iimiis of Poros stone, in antis, and meas- 
ured 35 ft. by 21 ft. Nothing remains 
but shattered foundations. This was 
probably the old temple of Nemesis ruined 
by the Persians. 
EIETI, Italy. 

The Cistercian Monastery of S. 
Pastore, near Rieti, was colonized from that 
of Casanova in about 1218, and its construc- 
tion dates from about the middle of the 
XIII century. An inscription in the 
cloister gives the year of its foundation as 
1255, and its architect as Anselm. The 
cliurch, built of stone, is cruciform in plan, 
with a square apse, four square side chap- 
els, and six bays to the nave — the iisual 
Cistercian plan. Its exterior is entirely 
ruined and modernized. The interior is 
a fine specimen of pure Cistercian Ro- 
manesque. Its length is nearly 125 ft., its 
width 60 ft., and at the transept 83 ft. 
The nave measures 26 ft. and the aisles 12 
ft. in width. Tlie high round arches of 
the nave rest on simple cruciform piers, 
from whose jorojecting faces spring pi- 
laster-strips along the Avail of the nave and 
aisles, and sub-arclies. The main vaults 
of the transept and apse are great pointed 
tunnel-vaults that rise to a height of be- 
tween 45 ft. and 50 ft. The low side- 
chapels have cross-vaults. The vaults of 
the transept are 21 ft. wide, that of the 
apse 27 ft. The nave and aisles are at 
present covered by wooden roofs, but it is 
probable that they also originally had 
tunnel-vaults. The effect of the whole 
interior is one of extreme loftjness, ex- 
ceeding that of any other Cistercian 
church in Italy. The vaults show the 
hand of French architects or their 
scholars. 

The Monastic Buildings still remain in 
part. The chapter-house is a fine hall 
whose vaults have mouldings like those of 
the episcopal palace at Rieti : there also 



remain two tunnel-vaulted halls and part 
of the refectory of the xiii century. The 
present cloister is of brick, and was built 
in the xv cent, by Abbot Silvester, whose 
inscription, dated in 1476, shows that he 
built and restored much in the monastery. 
A bell in tlie tower which rises over the 
apse has the date 1292. The architecture 
of this monastery is similar to that of its 
mother monastery Casanova, and its sister 
monastery S. Silvestro d'Acre ; all being 
based upon the tunnel -vaulted style first 
exemplified in Italy in the Cistercian 
monastery of SS. Vincenzo ed Anastasio, 
outside Rome. [A. L. F., Jr.] 
RIMINI (anc. Ariminum), Italy. 

Amphitheatre, built probably in the 
III cent. A.D., and restored in the vi. 
The plan is ellij)tical, the greater exterior 
diameter 393 ft., the lesser diameter 298 
ft. ; the axes of the arena 250 ft. and 155 
ft. The whole building was of brick ex- 
cepting the seats, Avhich were of marble. 
The arena was surrounded by four con- 
centric walls, the outer one of Avhich was 
jjierced with sixty arches. 

Roman Bridge of five arches over 
the river Marecchia (ancient Ariminus), 
at the junction of the Fiaminian and 
^milian A¥ays. The bridge, begun by 
Augustus and finished by Tiberius, is of 
white travertine in very large blocks, and 
of admirable construction. It is orna- 
mented Avith Doric details, the keystones 
carved Avith vases and civic croAvns, and 
the interior of the parapet still bears the 
inscription commemorating the construc- 
tion. The length of the bridge is 236 ft., 
its Avidth about 15 ft., and the span of the 
central arch, Avliich is the Avidest, 34|^ ft. 
One arch Avas broken doAvn by the Gotlis 
in 552, but Avas Avell restored in 1680. 

S. Francesco, the present cathedral, 
originally a Gothic church of the xiv 
cent., with a nave about 30 ft. wide and 
115 ft. long, flanked by three rectangular 
chapels on each side, opening from the 
nave by higli pointed arches in a flat 



338 



EIVA 



■wall. The choir is a single obloug bay 
with a great round apse. In 1450 the 
church was transformed, for the lavish and 
tyrannical Sigismuud Malatesta, by Leon 
Battista Alberti, whose masterpiece it is 
next to S. Andrea at Mantua. Alberti 
converted it into a sort of Hereon for the 
Malatesta family, and an embodiment of 
tlie aspirations of the Renaissance. It is 
called the Temjjio Malatestiano, and is 
profusely decorated with classic ornaments 
and emblems, mythological sculptures, the 
elephants and other cognizances of tlie 
Malatesta, and the initials of yigismund, 
and of his mistress and tardy wife Isotta, 
the only symbol of Christian worship left 
to it being its older name, S. Francesco. 
Alberti's faQade is a sort of triumphal 
arcli with tliree arches, the middle one, 
larger than the rest, containing the door, 
in the intervals of an engaged Corinthian 
order, above which the upper 
part, unfinished, suggests a sin- 
gle gable broken by a raised cen- 
tre witli an order of pilasters. 
A dome was to have crowned the 
church, but was never built. 
The sides are faced with a series 
of great arched niches, contain- 
ing sarcophagi of the ^Iulatest;i 
and tlieir friends. AVithin, the 
great pointed arches remain, and 
the walls ai'e covered with a pro- 
fusion of pilasters, large and 
small, singuhirly arranged, with 
panels and reliefs and carved or- 
nament. A sim])le open - tim- _ ~ ' 
bered roof takes the place of the 
intended wooden vault. The 
rich marbles with which the church is pro- 
fusely ornamented are in great part the 
spoils of older buildings. {Sec Fig. 162.) 
Tkiumphai. xVucir, now called Porta 
Romana. and spanning a street of the city. 
It was erected in honor of Augustus, in 
commemoration of tlie building of the 
Fhiminiau Way. It is a massive and well- 
built structure of wliite travertine, pierced 



by a single arch of 29| ft. span and 27 ft. 
high ; a Corinthian fluted column on 
each side supports an entablature, above 
which is a low pediment, and remains of 
mediaeval battlements crown the whole. 
Tlie spandrels are decorated with medal- 
lions, on one side of Jupiter and of Venus, 
and on the other of Xeptune and of Mars. 
Tlie total height is 4G ft. 
RIVA, Italy. 

tSxA. Ckoce. a small and singular Re- 
naissance church belonging to the first 
half of the xvi cent., of which the design 
is attributed to Cristoforo Solari. It is 
an octagon about 40 ft. in diameter in- 
ternally, surrounded by a Roman Doric 
arcade, of whose four cardinal arches 
one encloses the entrance door and the 
others open into square chapels. The 
four intermediate arches open into trian- 
gular niches which fill out the plan to a 




~ . ." — R nini, S. Francesco. 

S(|uare. Above the arcade is the windowed 

tlruni of a high octagonal dome, decorated 

with frescoes and covered with a low 

pvramidal roof and a small lantern. 

LA ROCCELLETTA (Del Vescovo Di 

Squillace). near Catanzaro and Squil- 

lace, Italy. 

The Basilica, which dates apparently 

from the iv or v cent., is the most inter- 



339 



EOME 



esting and perhaps the oldest of the very 
early churches in the old kingdom of Na- 
ples. It is of the Latin type, about 150 
ft. long, with nave and aisles, broad tran- 
sept, and three eastern apses. The nave 
columns and the roof are gone ; otherwise 
the church is well preserved. Under the 
choir and apse is a large crypt. The 
masonry appears to be Eoman, of the 
period immediately after Constantine ; the 
walls are of stone, banded with large 
bricks, and the Avindows arched in brick. 
This part of Italy was Latin, and ecclesi- 
astically dejDendent on Home, as late as 
the VI cent. ; but afterward came under 
the Greek Church and was dependent on 
Constantinople. It is possible that this 
basilica dates from the time when Cassio- 
dorus, the prime minister of Theodoric, 
withdrew to Squilhice, and founded in 
this neighborhood the great monastery of 
Vivarese, and other ecclesiastical establish- 
ments. In a wall near by -is set a By- 
zantine relief in marble representing the 
Virgin and Child. The Virgin wears the 
costume of the empress Theodora in the 
mosaics of St. Vitale at Ravenna, and the 
Child is dressed like a little Eoman em- 
peror of that period. The workmanship 
is excellent, and the relief may have come 
from the church. 
EOME (Eoma), Italy. 

S. Angelo. See Castle of S. Angela. 

Ara Cceli. See Sta. Maria in Araceli. 

Arcus AbCtENTARITJS, the Arch of Sep- 
timius Sever us on the Velabrum (called 
Arch of the Silversmiths), erected by the 
money-changers and merchants of the 
Forum Boarium to the emperor, the em- 
press Julia, and their sons Caracalla and 
Geta. The monument is of brick en- 
crusted with marble ; the masonry is good, 
but the over-rich decoration testifies to 
the decadence of art. The cornice con- 
sists of seven elaborately moulded mem- 
bers, and the frieze bears exuberant foli- 
age ornament. On each long side there 
are four, on each small side two, pilasters 



with Composite capitals. On the sides of 
the opening, which is not an arch, but has 
a flat lintel, are reliefs representing the 
emperor and his family offering sacrifice ; 
though damaged, they are of much value 
from the arclneological details illustrated. 
There are also some sculj^tiires on the ex- 
terior. This arch was obviously the model 
for much of the decoration of the early 
Eenaissance. It abuts against the church 
of S. Giorgio in Velabro. {See Fig. 182.) 

Arch of Augustus, a triumphal arch 
erected in honor of the victory at Actinm. 
It stood on the Forum Eomanum, adjoin- 
ing the Temple of Julius, and was in part 
masked by the Temple of Castor and Pol- 
lux as rebuilt by Tiberius. This arch is 
now gone except its massive foundations 
of travertine, which were discovered in 
1888. These show that it had three arch- 
ways, the central one of which was 14 ft. 
in span. 

Arch of Constantine, the best pre- 
served of Eoman triumphal arches, and in 
general effect the most impressive. It 
was dedicated in 315 a.d. It has a large 
central archway flanked by two smaller 
arches. Each front is ornamented with 
four Corinthian columns on pedestals, 
supporting blocks of the entablature, 
which, with the dies resting upon them, 
form pedestals for statues in Dacian cos- 
tume. Above the entablature is a high 
attic, the central compartments of which 
bear inscriptions, the others are filled 
with reliefs taken from the monument of 
Trajan, and representing that emjieror's 
triumphs over orientals and Dacians. Be- 
neath the entablature, on each face, over 
the small arches, there are four circular 
medallions presenting scenes from Trajan's 
private life, also abstracted from his mon- 
ument. Beneath these a small band is 
carried round the structure, with very 
rude sculjjtures of Constantine's cam- 
paigns. In the spandrels of the large 
arch are Victories, rudely carved, and in 
those of the small arches nymphs and 



340 



ROME 



river deities. On the side-walls of the 
large arcliway are other reliefs portraying 
exploits of Trajan, and on those of the 
small arches portraits of the sons of Con- 
stantine. On the basement - piers are 
sculptured Victorys and barbarian prison- 
ers. On the summit originally stood a 
bronze group of Constantine in a quadriga. 
The reliefs of the time of Trajan repre- 
sent the highest type attained by Roman 
decorative art ; the contrast with them of 
the rough sculptures of Constantine's day 



;ile ages it was transformed into a fortified 
tower. Upon the attic were originally 
placed an equestrian statue of Drusus and 
military troj)hies. 

Arch of Gallien-us, now a simple 
arch of travertine, 29 ft. high and 24 ft. 
in span, flanked by pilasters with Corin- 
thian capitals supporting an entablature, 
and bearing an inscription of 262 a.d. 
commemorating the invincible bravery and 
the remarkable piety of Gallienus. A 
drawing of the xv cent, shows this arch 




Fig. 163.— Rome, Aid. o! Coiibtantme. 



is striking. The height of the large uroli- 

o o o 

way is 38 ft., of tlie small ones 24^ ft. 
{See Fi(j. 1G3.) 

Arch of Drusus, father of the em- 
peror Claudius, erected over the Appian 
Way by decree of the Senate in 8 B.C., in 
recognition of the general's successes in 
the Rluptian and (lerman wars. It has a 
single archway of massive travertine ma- 
sonry, flanked by two Composite columns 
on higli pedestals. Traces can be distin- 
guished in the mass of masonry first placed 
on tlie arch by Caracalla, who made it 
serve to carry the Anio aqueduct over the 
street, of the pedi'nent whicli originally 
surmounted the entablature. In the mid- 



with a ('(Mitral decorative pediment and 
two side portals. It Avas erected in 262 
A.D., in the line of the Servian wall, and 
corresjionds to the ancient Esquiline Gate 
of Tarquin, part of Avhose foundation ex- 
ists. It spans the modern Via di San 
Vito. 

Arch of Jakus Quadrifrons, a four- 
way arch of Greek marble at one extrem- 
ity of the Forum Boarium, built in part 
of older materials. It is heavy and de- 
based in style, and instead of having any 
connection with Janus, it is plausibly con- 
jectured to have been built for the tri- 
umphal entry of Constantine after his 
victory over Maxentius. It was used in 



341 



EOME 



antiquity as a sort of financial exchange 
or bourse. It is pierced by two passages 
at right angles, leaving four massive 
angle-piers, the central space being covered 
by a groined vault formed of pots. On each 
face, arranged in two tiers beside the arch- 
way, are twelve niches, eight for figures of 
divinities and four blind. The frieze and 
cornice are much damaged, and the attic 
is gone. The present height is 39 ft. 

Arch of Septimius Severus, in the 
Forum Romanum, built 203 a.d., in com- 
memoration of the victories over the Par- 
thians and Arabs, and in honor of the em- 
peror and his sons Caracalla and Geta. It 
has three archways witli coffered vaults, 
the central one much the largest, flanked 
by Composite columns on high basements. 
In the spandrels of the large archway are 
carved Victorys bearing tro^jhies ; in those 
of the smaller ones are river gods. Over 
the small archways are reliefs presenting 
incidents of the campaigns, and. on the ped- 
estals of the columns are sculptured cap- 
tive barbarians. The high attic bears 
pompous inscriptions, and originally sup- 
ported a group in bronze of the six-horse 
triumphal chariot of the laurel-crowned 
emperor. The substructure is of traver- 
tine, the columns of proconnesian marble, 
and the rest of the monument of pentelic. 
The width is 82 ft., the height 75 ft. 
From the artistic side the monument 
shows decadence in its proportions, and 
particularly in its sculpture. 

Arch of Septimius Severus on the 
Velabrum. See Arcus Afgentarins. 

Arch of Titus, a monument dedicated 
in 81 A.D., by the Eoman senate and peo- 
ple, in honor of the destruction of Jerusa- 
lem in 70 A.D. It stands on the elevation 
called the Velia, S. E. from the Forum 
Eomanum. In the middle ages it was em- 
bodied in the construction of a fortress- 
tower of the Frangipani, and it was not 
isolated until 1822. It is a triumphal arch 
of a single opening, simple in outline, and 
in excellent architectural taste. The arch- 



Avay is flanked on both faces by two en- 
gaged Composite columns on each side, 
su^jporting an entablature whose frieze is 
sculptured with a sacrificial procession. 
Above the cornice rises an attic about 14 
ft. high, bearing in panels the dedicatory 
inscription and that commemorating the 
restoration by Pius VII. Upon it origi- 
nally stood a four-horse chariot. The span- 
drels of the arch are carved with Victo- 
rys. It is especially noted for the reliefs 
which adorn the interior of the jjassage. 
These count among the best productions 
of Roman decorative art, and represent on 
one side the emperor Titixs crowned by 
Victory in his triumphal chariot, conduct- 
ed by the goddess Roma and attended by 
lictors and rejoicing citizens ; and on the 
opposite side the procession with the booty 
of Jerusalem, in which the shew - bread 
table and the seven-branched candlestick 
are conspicuous. At the summit of the 
coffered vault Titus is seen borne up to 
the gods by an eagle. The height of the 
arch is 51 ft. 

Arch of Tra.jan, originally connect- 
ing the Forum of Trajan with that of 
Augustus. Its sculptures were used to 
adorn the existing Arch of Constantino, 
and other fragments survive in the Later- 
an Museum. 

Atrium Vest^. See House of the Ves- 
tal Virgins. 

Auditorium of M^cenas, so-called, 
an interesting structure in the ancient 
gardens of Maecenas. It is rectangular in 
plan, 62 ft. by 34 ft., with six rectangular 
niches in the side walls of the interior, 
and at one end a semicircular exedra of 
six tiers of seats originally encrusted with 
marble. The niches are painted with 
trees, flowering plants, and birds, of good 
style. The walls show inside and out the 
ojnLS reticulatu7n masonry, in small blocks 
of tufa, of the early empire. 

Baptistery of Constantine. See S. 
Giovanni in Fonts. 

Barracks of the Vigiles, a body of 



342 



ROME 



men enrolled from the beginning of the 
empire, under military discipline, to serve 
as police, firemen, and lamplighters. The 
stationes were sumiituons buildings, with 
halls decorated with marble 
and mosaics, as well as statues 
and other works of art. The 
minor barracks were also large 
and fine buildings. Tlie most 
perfect of them surviving is 
one of the two of Cohort VII., 
near the church of S. Criso- 
gono in Trastevere. It has a 
large colonnaded atrium Avith 
mosaic pavement, surrounded 
by series of rooms, some of 
them lavishly decorated, wliicli 
formed two, and perhaps three, 
stories. Among the rooms are 
an interesting lararium or 
chapel, and one fitted as a 
spacious plunge-bath, witli in- 
crustation of thin slabs of colored marbles 
arranged in panels. 

Basilica of Constantine, on the 
Forum Romanum, formerly known as the 
Temple of Peace, built by Maxentius, and 
after his fall dedicated in the name of Con- 
stantine. The foundations of tlie great 
structure, tlie finest example of a vaulted 
basilica, can be traced throughout, and 
sufficient of the piers and vaulting remains 
standing to afford material for a complete 
restoration. The building is of arcliitect- 
ural importance from its wide deviation 
from classical traditions, so that it repre- 
sents a step in tlie development of later 
styles. It consisted of a nave 262 ft. long 
and 83 ft. wide, flanked by aisles 52 ft. 
wide. Each aisle was vaulted in three 
bays at right angles to the nave. Tlie 
vaults of the north aisle. Avith their im- 
posing arches 80 ft. high and 67 ft. in 
span, are still standing, and Avere studied 
as models by the architects of St. Peter's. 
At the western extremity of the nave 
there Avas a tribune. At a subsequent 
date, an entrance Avith a portico and a 



flight of steps was formed in the middle of 
the south long side, and a second tribune 
Avas constructed oj^^iosite to it in the cen- 
tral bay of the north nave. At the east 




Fig. 164. — Rome, Basilica of Constanline and SS. Cosmo and Damiano. 



end a seven-arclicd portico was carried 
across the entire front. In the exterior 
Avail of each bay of the aisles opened three 
large arched avIiuIoavs. Tlie naA'c Avas 
covered Avith groined vaulting, Avhich at- 
tained the height of 115 ft., and also had 
Avindows. Tlie decoration included huge 
columns, niches, and many statues. The 
basilica Avas ruined by an cartliqunke in 
1349. {See Fiff. m.) 

Basilica Jovis, a great hall to the 
right of the entrance of the palace of 
Domitian, on the Palatine Hill, forming 
a room of the palace for the administra- 
tion of justice. It is of excellent projior- 
tion. Avith Avide nave and narroAV side- 
aisles, each separated from the nave by a 
ranafc of seven columns. At one end there 
Avas a large apse Avith seats for the judges. 
A balustrade divided the space reserved 
for the magistrates from that open to the 
public. This hall was probably A^aulted, 
and in type it is very close to the earlier 
Christian basilicas. 

Basilica Julia, on the south side of 
the Forum Romanum, a great 



building 



343 



ROME 



begun by Csesar in 54 B.C., and finished 
by Augustus. It formed practically a 
covered forum for the courts of justice 
and the needs of business. It was greatly 
injured by fire, and was restored in 377 
A.D., by the prefect Gabiuius Vettius 
Probianus. The existing remains repre- 
sent this restoration. In plan, it is a rec- 
tangle 151 ft. by 338 ft., the long sides 
being the fronts. It had neither columns 
nor projecting tribune, but on the long- 
sides three ranges of arcades, each resting 
on eighteen piers, and on the small sides 
also three ranges, each with eight piers. 
The central space, measuring 59 ft. by 
253 ft., had fourteen piers on each long 
side and four on each small side. The 
Basilica had galleries over the aisles, which 
were covered with groined vaulting ; the 
central space was roofed with wood, or 
possibly sheltered merely by an awning. 
The pillars were partly of brick, partly of 
travertine ; those on the Forum front 
were of travertine. On the outward side, 
the piers were adorned with semi-columns, 
those of the first story being Doric with 
three rosettes on the neck and Attic bases, 
and those of the second story being Ionic. 
The range of arcades toward the Forum 
was called the Portions Julia ; in it were 
placed the tables of the money-changers. 
The central space, two steps higher than 
the porticoes, was enclosed by perforated 
barriers of marble ; it was especially ap- 
propriated to the civil court. Twenty- 
four piers have remained standing, most 
of them toward the N. W. corner. On 
the south long side there remain piers 
and walls of tufa, forming a row of shops, 
which represent the constructions of 
Caesar. 

Basilica Ulpia, occupying a great 
part of the K. W. end of the Forum of 
Trajan. Both its ends are covered by 
modern houses, but the lower parts of the 
columns and walls of the central portion 
are exposed. It was of two stories, 184 ft. 
wide, five-aisled, the width of the middle 



aisle 82 ft. The long sides were the chief 
fronts. The columns were of giallo an- 
tico, pavonazetto, and granite ; the roof 
was covered with sheets of bronze, and the 
floor paved with marbles of different col- 
ors. It is held by some authorities that 
the central space was open to the sky. 
On the N. W. side of the basilica was a 
court surrounded by two-storied colon- 
nades ; in the centre of this court stood 
the column of Trajan. 

Baths. See Therm ce. 

BoccA BELLA VeritI. See Sta. Maria 
in Cosmediu. 

Bridge of Sant' An"Gelo, the chief 
bridge of Kome, built in 134 a.d. by Ha- 
drian, directly opjDosite his monument, 
and in antiquity called the Pons iElius 
and forming part of the Via Aurelia. 
Five of the massive travertine arches are 
ancient, the sixth dates from the xvi 
century. In 1530 Clement VII. set up the 
statues of St. Peter and St. Paul on the 
parapet at the entrance of the bridge, and 
in 1668 Clement IX. placed the statues of 
the ten Angels of Suffering over the piers. 

BridOtE of the Quattro Capi, as now 
called from the quadruple Janus -heads 
on the surviving one of the ancient bar- 
rier-piers. It is the oldest surviving bridge 
of Eome, the ancient Pons Fabricius. 
The original inscription, which is still in 
place over one of the two fine semicircular 
arches, shows that it was built by Fabri- 
cius in 62 B.C., and tested by the Consuls 
Paulus yEmilius, Lepidus, and Marcus 
Lollius, in 21 B.C. The rough masonry is 
of tufa and peperino, the facing of traver- 
tine. The central pier is pierced by an 
arched opening framed by pilasters. The 
bridge, 230 ft. long and 21 ft. wide, leads 
to tlie island in the Tiber, forming one 
section of a bridge to the Trastevere. 

Campidoglio. See Capitol. 

The Cancelleria, one of the largest 
and most important of the Eoman palaces, 
built at the end of the xv cent., from the 
designs of Bramante, for Cardinal Riario, 



344 



ROME 



nephew of Sixtus V., for tlie uses of the 
papal chancery. The buildings are ex- 
tensive, covering an area about 235 ft. 
square, and including as an integral part 
of the plan the church of S. Lorenzo 
in Damaso (q-v.). A portion of the of- 
ficial ajiartments lies behind and at one 
side of the church, but the greater part 
is disposed about a great oblong court 
of imposing design, one of the most 
justly celebrated works of Bramante, 
measuring aboi;t 70 ft. by 110 ft., and 
surrounded by two stories of vaulted 
arcades, the arches in both springing 
from quasi -Roman Doric columns, of 
which the shafts of red granite were 
taken from the ancient basilica of S. 
Lorenzo which was replaced by the new 
church, and more remotely from the 
neighboring theatre of Pompey. The 
arcades are each crowned by a full en- 
tablature, and above the arcades is a 
third stage, consisting of a flat Avail 
faced with an order of Corinthian pi- 
lasters embracing two half -stories, the 
windows of the lower square with mould- 
ed architraves and horizontal cajjs, those 
of the upper small and round-arched, 
surrounded by simple moulded archi- 
trave. The fagades are of great ele- 
gance. They are in three stages of rus- 
tic masonry : the first stage a plain M'all 
with single round-arched windows, crown- 
ed by a strong moulded cornice ; the two 
upper stages each with an order of flat 
Corintliian pilasters arranged in couples. 
The principal front on the Campo dei 
Fiore has a length of nearly 300 ft., of 
which about one-tliird covers and hides 
the church of S. Lorenzo. At each ex- 
tremity is an angle pavilion of no great 
projection. The first story has two door- 
ways, one forming tlie entrance to the 
palace and the other to the church. The 
latter, designed by Vignola, is comparative- 
ly simple. The former, by Fontana, is 
much more pretentious, consisting of an 
arch some 10 ft. by 20 ft., with sculptured 



spandrels, enclosed in an engaged Doric 
portico of four columns, with triglyphs in 
the frieze and surmounted by a balustrade. 
Tlie walls are of travertine, perhaps taken. 




Fig. 165. — Rome, Cancellaria, Cpu-I. 

as has been asserted, from the Colosseum ; 
the doorway and windows are of white 
marble. The details are everywhere re- 
fined and temperate. The interior has 
many fine apartments, some of whicli are 
decorated with frescoes by Vasari, Peruzzi, 
and other masters. [See Fif/. 16-').) 

The Capitol. (II Campidoglio.) The 
Capitol hill, the central seat of the Roman 
power, had at the epoch of the Renaissance 
become degraded from its ancient archi- 
tectural splendor. Tiie Citadel or Arx on 
the one side, and the Temple of Jupiter 
Capitolinus on the other, had disappeared. 
Between them the medieval palace was 
still standing, rebuilt in 1380 by Boniface 
IX., but in its front was a rough, imiirac- 
ticable cliff, and in the rear Avere the in- 
clined planes leading down to the Forum. 



Sis 



ROME 



Toward the middle of the xvi cent., Paul 
III., desirmg to put this central j)oint into 
a more befitting condition, commissioned 
Michael Angelo to lay out the level pla- 
teau in front of the medijeval palace and 
to erect suitable buildings. Under his di- 
rection the old palace was substantially re- 
built and two new ones erected, enclosing 
on three sides a trapezoidal space about 
200 ft. in depth, 170 It. broad at the rear, 
where the old palace stood, and 130 ft. at 
the front, the two side buildings converg- 
ing toward the front, like tlie colonnades 
of St. Peter's. From the foot of the hill 
a long inclined plane, or gradinata, flanked 
by balustrades, leads to the plateau, end- 
ing at the toj) in two great pedestals bear- 
ing the statues of Castor and Pollux with 
horses. In. the middle of the square 




Of the buildings, the two on the sides of 
the square, known respectively as the Mu- 
seum of the Capitol, and the Palace of the 
Conservatori, are alike in their exterior, 
the design consisting of a single strongly 
marked order of Corinthian pilasters stand- 
ing on high pedestals, the cornice sur- 
mounted by a balustrade, the intervals in- 
cluding two stories, of which the first is 
an open loggia marked by a sub-order of 
Ionic columns in the intervals of the 
great pilasters. Tlie second story has in 
each interval a square window with balus- 
trade, enclosed by a Coi'inthian order with 
curved pediment. Both these palaces con- 
tain extremely interesting collections of 
ancient works of art, and the gallery of 
sculpture in the Museum is, next to that 
of the Vatican, the most important and 

valuable in existence. {See Fig. 

166.) 



The 



central building, known 



Fig. 166.— Rome, Capitol Mil 
Scale of 100 feet. 



1. Capitoline Museum. 
3. Capitol. 



2. Pal. of the Conservatori. 
4. Church of Araceli. 



stands the ancient bronze equestrian statue 
of Marcus Aurelius, the only complete ex- 
ample of its class which is known to exist. 



as the Palace of the Senator, 
which encloses, or replaces, the 
medifeval palace, is in harmony 
with the others, though of some- 
what simpler architecture. Its 
plain rear wall, which towers over 
the Forum Eomanum, is built on 
the remains, and even imbeds 
some of the Doric arcades, of 
the ancient Roman Tabularium. 
Its fa9ade, about 200 ft. long, 
repeats the order of Corinthian 
pilasters, raised, however, on a 
high basement which is nearly 
covered by an imposing double 
flight of steps, the two ramps 
skirting the wall and meeting in 
the middle over an elaborate 
fountain. The order covers two 
stories of windows, the lower 
range substantially like those in 
the other palaces. Of this f a9ade 
only the basement with its great 
staircase was completed at the time of. 
Michael Angelo's death ; the upper por- 
tions were carried out under Giacomo 



346 



EOME 




Fig. 167. — Rome. Capitol and Steps. 

della Porta and Girolomo Eainaldi. The 
square tower, which takes tlie phice of that 
on the mediteval palace and has two belfry 
stages, was built by Martino Lunghi about 
1580. {See Fig. 107.) 

Castle of S. Angelo, the modern 
name of the mausoleum built by the em- 
peror Hadrian about 130 A. D., and finished 
some ten years later by Antoninus Pius. 
The ancient building 
was a round tower abou t 
230 ft. across, on a huge 
square substructure 
and surmounted prol)- 
ably by a smaller tower, 
rising some 105 ft. 
above the grouiul. The 
exterior was faced with 
marble and probably 
encircled by a range, 
perhaps by two ranges, 
of columns which, it is 
said, furnished the col- 
umns of the old basilica 
of St. Paul M^thout the 
walls. It bore Tipon its 
summit, according to 
some authorities, the 



statue of Hadrian, ac- 
cording to others the 
gilded pineapple which 
now adorns the upper 
court of the Vatican. 
The square basement 
is lost in mediaeval ad- 
ditions, the upper cir- 
cle has disappeared, 
and the great tower has 
been heightened by a 
blank w^all crowned 
with an arched corbel- 
table surrounding the 
bnilding, -with a high 
M'all above, pierced ir- 
regularly with open- 
ings of various forms 
and sizes. Still above 
this, on the side toward 
the bridge, rises a square building of 
three stories, capi^ed with the faniiliar 
bronze figure of the archangel Michael. 
The masonry of the original building 
is of hewn peperino and of extraordinary 
thickness, the monument having con- 
tained but a single square chamber in the 
centre, approached from an entrance arch- 
Avay througli an ascending spiral corridor 




Angelo, 



847 



EOME 



\ 



11 ft. wide and 30 ft. liigh, and lighted 
by narrow ojjenings in the enclosing 
walls. The modern portions of the build- 
ing contain many a]3artments, of which 
some are decorated with frescoes by Giulio 
Eomano, Perino del Vaga, and other 
masters. The history of this remarkable 
monument is as varied as that of Rome it- 
self. It served its intended uses as an im- 
perial burying-place only until the death 
of Septimius Severus, in 211, scarcely 
eighty years from its commencement. 
Two centuries later it became a fortress 
under Honorius, and in the siege by Viti- 
ges the soldiers of Belisarius defended it by 
throwing down its marble statues upon the 
heads of the Goths. During the troubled 
centuries which followed it fell succes- 
sively into the hands of Romans, Goths, 
and Greeks. About the middle of the x 
cent, it was the stronghold of the popes, 
and while occujaied by the French cardi- 
nals, underwent various changes of form. 
It was ruined by the Romans themselves 
in 1379, in anger at its occupation by the 
partisans of the antipope Clement VII., 
and I'epaired by Boniface a dozen years 
later. Alexander VI., about 1500, built 
additional fortifications between it and the 
river, and finished the gallery of commu- 
nication with the Vatican. In 1611 the 
outer fortifications were built, on an , ex- 
tensive scale and of great strength, from 
Bernini's designs. Many remarkable and 
famous statues and other remains of an- 
cient Rome liave been found in this monu- 
ment. {See Fig. 168.) 

Chiesa Nuova. See Sta. Maria in 
ValUcella. 

Church of the Gesuiti, called II Ge- 
sii, the chief church of the Jesuit Fathers, 
noted for the sumptuousness of its interior 
decoration. It was planned and partly built 
by Vignola for Cardinal Alexander Farnese 
about 1568, and finished after his death by 
his pupil, Giacomo della Porta, who added 
the fagade, with some variation from Vig- 
nola's design. Toward the end of the next 



century the Jesuit father Andrea Pozzo 
added the decorative features which set 
the fashion in the rococo style for Jesuit 
churches throughout Europe. The church 
is cruciform, and has a spacious nave 55 ft. 
wide, short transept arms, a choir of one 
bay and eastern apse. The four arms are 
barrel-vaulted and the crossing covered by 
a hemispherical dome. A single order of 
coupled Corinthian pilasters, lining the in- 
tei'ior, shows the simplicity and dignity of 
Viguola's design. Square chapels with 
low domes border the nave and choir. The 
drum of the great dome is wainscoted Avith 
a smaller order of ]Dilasters, enclosing pedi- 
mented windows and niches. The vaults 
are lavishly decorated, and in their lunettes 
are tlie richly framed rococo Avindows of the 
clerestory. Della Porta's fagade consists 
of two superposed orders of coupled Co- 
rinthian pilasters. The lower story has 
a double pediment (a triangular Avithin a 
curved) over the central door ; the second, 
narrowed to the Avidth of the nave and 
flanked by scroll buttresses, has a pedi- 
raented window between two niches under 
a large triangular j^ediment. 

The Circus of Maxentius, built in 309 
A.D., could receive seventeen thousand 
s|)ectators. The round end is turned to 
the east ; at its centre is the porta trium- 
jjltalis, through Avhich the Adctor jiassed 
in triumph, and at the Avest, between tAvo 
three-storied towers, the ten carceres ar- 
ranged on the arc of a circle, in which the 
racers Avere confined to insure a fair start. 
The circus is 1,620 Roman ft. long and 240 
ft. Avide ; the spina is 1,000 ft. long, placed 
a little diagonally, so as to give more room 
at the entrance than at the ojiposite end. 

Cloaca Maxima, a famous monument 
of the time of the kings of Rome, intended 
to relicA^e the town of rain fioods. The 
semi-cylindrical A^ault of splendid Etrus- 
can masonry in large voussoirs of tufa, 
with arches of travertine at short inter- 
vals, opens on the Tiber, still perfect and 
performing its original function. The 



348 



ROME 



height of the arch is some 12 ft., aud its 
width 11 ft. 

College of the Neophytes. See 
Sta. Maria dei Monti. 

CoLLEGio EojiAXO. The very exten- 
sive buikliiigs of the Roman (Jesuit) Col- 
lege, founded in 1582 by Gregory XIII., 
were built from the designs of Ammanati. 
They include the sumjituous church of S. 
Ignazio {q. v.), and cover an area measur- 
ing about 310 ft. by nearly 470 ft., enclos- 
ing two great courts ; one an oblong of 
about 75 ft. by 1.30 ft. laid out as a gar- 
den, with vaulted arcades on three sides, 
the other a square of rather more than 100 
ft., surrounded by two stories of vaulted 
arcades each enclosed in an order of pilas- 
ters, Ionic and Corinthian respectively, 
the arcades giving access to the numerous 
class-rooms and other apartments of the 
college. The principal facade is flat and 
uninteresting. It has a length of more 
than 300 ft., its centre slightly projecting 
and of superior height, with two entrance 
doorways in the first story. The height is 
divided into two stages, each including two 
stories of windows enclosed in square pan- 
els, with an attic above the main cornice. 

The CoLOSSEinr, or Flavian Amphithea- 
tre, the greatest architectural monument 
of the Roman people, was begun by Ves- 
pasian on the site of an artificial lake be- 
longing to Nero's Golden Ilonse, aud 
dedicated by Titus in 80 a.d. Although 
ravaged in the xi cent, by Robert Guis- 
card, afterward a baronial fortress of the 
Frangipani, later a robber stronghold, and 
for centuries a public quarry, about half 
of the total mass still remains, including 
more than half of the massive exterior 
facing of travertine, with three tiers of 
arcades, originally eighty in each tier, 
adorned by engaged colunnis, Doric, Ionic, 
and Corinthian, and entablatures, and a 
fourth story with Corinthian pilasters, 
but with the intei'columniations closed ex- 
cept for rectangular windows in alternate 
spaces. The seats rose in tiers, the low- 



est of them elevated, for security, on a 
podium above the arena, and were sub- 
divided by two precinctions or horizontal 
passages of communication, each with a 
wall at the back, and bordered above by a 
colonnaded gallery. Communication was 
further provided for by a number of radial 
stairways in the tiers of seats. Access to 
the auditorium was established by an elab- 
orate system of passages and stairs dis- 
posed in the concentric vaults upon which 
the seats rested, and by one hundred and 
sixty doorways, called vomit or ia, from these 
into the auditorium. The seats were of 
marble, the most important constructiA-e 
parts of the interior walls of travertine, 
and the less important parts and the vaults 
of brick, tufa, and concrete. In some 
of the lowest vaults were arranged dens 
for Avild beasts, and quarters for gladiators 
and the various requirements for service. 
An elaborate system of substructions be- 
neath the arena appears to indicate that 
it could be flooded for a naumachy, aud 
there were efficient devices for the drainage 
of the entire interior, which have been in 
part restored. Corbels and pierced stones 
in the highest story mark the placing of 
the masts which sujjported the vela or 
awnings for protection from the sun. 
The dimensions are : axes of exterior el- 
lipse, G17 ft. and 512 ft. ; axes of arena, 
282 ft. and 148 ft. ; exterior height, 159 
ft. The auditorium could hold eighty- 
seven thousaiul people. 

Column of Marcus Aurelius, in the 
Piazza Colonua. It is an imitation of the 
Column of Trajan, a Roman-Doric col- 
umn of white marble 87 ft. high, on a 
square jiedestal of the height of 10 ft. 
The shaft, 13 ft. in diameter at the base 
and 12 ft. at the top, is formed of twenty- 
eight elrums, and is sculptured with the 
Roman campaigns against the i\Iarcoman- 
ni aud kindred peoples, in high relief and 
in a somewhat hard and dry style, occupy- 
ing a spiral of twenty turns. The render- 
ing of rivers, buildings, etc., is like that 



84!) 



EOME 



on the Column of Trajan. The present 
base is modern ; the ancient one lies deep- 
er. The existing inscription, ascribing the 




Cnlumn nf M,i 



monument to Antoninus Pius, is incorrect. 
In the interior of the shaft there is a 
winding stair leading to the top of the capi- 
tal, on which stands, since 1589, a gilded 
bronze statue of St. Paul, 13 ft. high, 
placed there by Sixtus V. {See Fig. 169.) 
Column of Phocas, conspicuous in 
the middle of the Forum Eomanum, a 
fluted Corinthian column 54 ft. high, taken 
from some ancient building, and raised on 
a high base of brick with steps in pyram- 
idal form on the four sides. An inscrip- 
tion shows that it was erected by the 
exarch Smaragdus in 608 A.D., in honor 
of the emperor Phocas, whose statue in 
gilt bronze formerly stood on the caj^ital. 



CoLUMK OF Trajan, at the IST.W. end 
of Trajan's Forum, between the Basilica 
Ulpia and the temple of Trajan. The 
column was erected in honor of the em- 
peror, in 113 A.D., by the Roman Senate 
and jjeople, and his ashes were placed in 
a sepulchral chamber beneath it. It is 
a gigantic Eoman-Doric column resting 
on a square basement, ornamented on 
three sides with military trophies in re- 
lief, and having a door in the fourth 
side. On the angles stand imperial 
eagles, and the plinth and torus of the 
column are carved with wreaths of oak 
and ivy. The shaft consists of twenty- 
three blocks of marble, on which are 
sculptured, in a spiral of twenty - two 
turns about 8 ft. high, incidents of 
Trajan's two triumphant Dacian cam- 
paigns. The style is vigorous and real- 
istic, and the execution careful. On 
the pedestal above the capital of the 
column stood a statue of Trajan ; since 
1587 its place has been occupied by a 
bronze figure of St. Peter. The total 
height is 147 ft. ; height of shaft 87 ft. ; 
diameter of shaft above base 11 ft. ; at 
neck 10 ft.; height of basement 16| ft. 

The Curia, the chief meeting-place of 
the Senate, is identified with practical 
certainty by Lanciani with the unimjior- 
tant existing church of S. Adriano, which 
faces the Forum Romanum. Established 
by Tullus Hostilius, it was several times 
burned or pulled down and rebuilt, the 
last time in the reign of Diocletian. The 
ancient structure has been much modified 
since it was transformed into a church, 
the level of the fioor having been raised 
about 20 ft., and the upper parts altered. 
The front is about 70 ft. wide, built of 
concrete faced with brick, and was origi- 
nally coated with hard stucco. There were 
three large windows, now blocked up, in 
the fa9ade over the ancient doorway. A 
drawing of the xvi cent., made before the 
level of the floor was changed, shows the 
fa9ade with a hexastyle portico and a 



350 



EOME 



pediment. The bronze doors, older than 
the restoration of Diocletian, were taken 
by Alexander VI. for the chief entrance 
to the nave of St. John Lateran, where 
they still are. 

Curia Innocestziana. See Palazzo 
di Monte Citorio. 

DoMUS AuREA, or Golden House of 
Nero. See Tliermm of Titus. 

Flavian Amphitheatre. See Colos- 
seum. 

FONTANA dell' AcQUA FeLICE, COll- 

siiicuous among the Koman fountains, 
erected in 1585-87, under Sixtus V. (wliose 
name was Felice Peretti), from the designs 
of Domonico Fontana, the water being 
brought from springs in the Alban Moun- 
tains, a distance of about thirteen miles. 
Three great arched recesses are faced with 
an order of engaged Ionic columns, stand- 
ing on high pedestals. The entablature 
is overloaded by an attic as high as the 
columns, bearing a long inscription, and 
surmounted by a group of sculpture cov- 
ered by a pediment and flanked by great 
consoles. Obelisks rise from tlie angles. 
Under the central arch is a co- 
lossal statue of Moses striking 
the rock ; the side arches con- 
tain figures of Aaron and Gid- 
eon. All tliese stand on pedes- 
tals of rockwork from Avhich 
the water springs into a rec- 
tangular basin. Four lions of 
gray marble crouch in front of 
the pedestals, in the place of 
four ancient ones of black ba- 
salt which have been placed in 
the Eg\q3tian Museum of tlio 
Vatican. 

FoxTANA Paolina. the most 
imposing of the architectural 
fountains of Rome. It is sit- 
uated on the slope of the Jan- 
iculum, aiul was built in 1013 
by Paul v., from the designs of (Jiovanni 
Fontana and Carlo or Stefano jMaderuo. 
It is a great rectangular building about 90 



ft. long, faced with an order of Ionic col- 
umns of red granite on very high pedestals, 
surmounted by an overpowering attic bear- 
ing a long inscription. The central por- 
tion resembles an open three-arched loggia. 
Between the pedestals are five great rect- 
angular niches from which the water 
springs into an immense basin, with a 
semicircular front, about 90 ft. broad. 
The water is brought from the lake of 
Bracciano, about twenty-five miles distant, 
by the ancient Eoman aqueduct called 
the Aqua Alsietina, or Trajana, which 
was restored by Paul V. and given its new 
name of the Acqua Paola. {Sec Firj. 170.) 
Fontana di Tkevi. This fountain 
is the best known and most admired in 
Rome, on account of its tradition and its 
bizarre picturesqueness. It gains great 
effect from its position in the middle of 
the fayade of the Palazzo Conti. The 
water is brought from a point on the 
Via Collatina about eight miles from the 
city, by an ancient Roman aqueduct 
called tlie Aqua Virgo, which fell into ruin 
and was rej)aircd by Loon Battista Al- 




Fig. 170. — Rome, Fontana Paolina. 

bcrti, under Nicholas V., about 1453. The 
fountain was built by Clement XII., in 
1735, from the designs of Niccolo Salvi. 



351 



EOME 



Its front, backed by the fa9ade of tlie 
palace, lias a breadth of about 68 ft., faced 
by a great order of four engaged Corin- 
thian columns on high pedestals, and sur- 
mounted by a high attic bearing statues 
and an inscription. In the middle in- 
terval is a broad decorated niche with a 
statue of Neptune ; standing statues also 
occupy the side intervals, with bas-reliefs 
in panels above. The same architecture is 
continued across the whole iaqade of the 
palace, nearly 150 ft., with Corinthian pi- 
lasters, and two stories of windows in the 
intervals. At the foot of the fountain is 
a mass of rockwork, over which the water 
dashes from openings between the central 
jjedestals, with the horses and tritons of 
Neptune in violent action in the midst, 
and falls finally into a great basin about 
110 ft. broad. 

The Forum of Augustus, between the 
Forum of Nerva and that of Trajan, 
formed a stejD in the great imperial ex- 
tension of the Forum Romanum. It con- 
tained the splendid Temple of Mars Ultor, 
and was surrounded by rich porticoes, 
lavishly decorated and adorned with many 
works of art. The remains of the en- 
closing wall are among the 
most imj^ressive in Rome. 
It is in massive masonry of 
pejDcrino, and extends to a 
height of 86 ft. above the 
present ground-level, and 
to a depth of 23 ft. below 
it. Four arched doorways 
are still visible in the wall. 
Near the Temple of Mars 
an arch Avhich spanned the 
ancient street still stands, 
over the modern Via Bo- 
nella ; it is built of great 
blocks of travertine, and 
is now called the Arco dei Pantani. 

Forum Romanum, an oblong area about 
700 ft. long and 240 ft. to 120 ft. wide, 
extending from the Tabularium at the foot 
of the Capitoline Hill, to the Temple of 



Vesta and the Regia at the extremity of 
the Sacra Via, opposite the Temj^le of An- 
toninus and Faustina. This area consti- 
tuted the centre of the primitive Roman 
state, and became the site of a long array 
of historic scenes. In the course of time 
it was surrounded, and even encroached 
ujDon, by many great buildings, and nu- 
merous statues and other works of art, be- 
sides inscriptions, were set up within it. 
On the N. E. side rose the Mamertine 
Prisons, the Curia, and the Basilica Emi- 
lia ; on the S. W. the Temple of Saturn, 
the great Basilica Julia, and the Temple 
of Castor and Pollux. The central open 
space formed the Oomitium, where public 
meetings assembled. Adjoining this on 
the N. AV. Avere the Rostra, constituting a 
platform for orators. The temples of 
Concord and Vespasian Avere later built in 
the Forum itself, in front of the Tabula- 
rium, and the Arch of Septimius Severus 
rose beside the Rostra. At the S. E. end 
the Temple of Julius Caesar was placed 
before the Regia, and finally, in the vii 
cent., the Column of Phocas was built be- 
fore the Rostra. As the city increased, 
the ancient Forum became too contracted 



-! 








F]g. 171, — Rome, Forum Romanum. 

for the public needs, and between the time 
of Csesar and that of Trajan five magnifi- 
cent new fora were formed, extending in a 
northerly direction from the Forum Ro- 
manum to the Campus Martins. During 



352 



KOME 



the middle ages some of the buildings on 
the Forum were altered into churches or 
feudal strongholds ; others were used as 



Minerva which constituted its chief orna- 
ment, but has now disappeared, and the 
Forum Transitorium because it formed a 




Fig. 1 72. — Rome, Forum Romanum. 

A A, Cloaca Maxima. B B, Clivus Capitolinus. 

1. Temple of Saturn. 5. Temple of Julius Caesar. 8. Column of Phocas. 



C. Via Sacra. 

12. Temple of Concord. 



2. Basilica Julia. 6. Temple of Antoninus and 9. Roslra. 

3. Temple of Castor and Pollux. Faustina. 10. Arch of Septimius Severus. 

4. Temple and House of Vesta. 7. Curia. 11. Mamertine Prisons. 



13. Temple of Vespasian. 

14. Porticus Deorum Consenti- 



quarries and their marble encrustation and 
sculptured ornament as raw material for 
the })roduction of lime ; and the area be- 
came so much choked with rubbish and 
with eartli washed from above that in 
places the ancient pavement was buried to 
a depth of -40 ft. Early in the present 
century excavations were begun and car- 
ried on in a desultory way until 18-1-8. 
Work was resumed by tlie Italian Govern- 
ment in 1811, and energetically pushed to 
its present practical completion. {See Figs. 
Ill, 112.) 

The Forum of Nerva, between the 
Forum of Augustus and that of Vespa- 
sian, begun by Domitian, and dedicated by 
Nerva in 97 A.n., was also called the 
Forum Palladium from the temple of 



usual thoroughfare from the ]S'. E. to the 
Forum Romanum. It Avas enclosed by a 
wall, which still stands, in one place adjoin- 
ing the Forum of Augustus, to its full 
height of nearly 100 ft. On the opposite 
side, next the site of the temple, a lower 
piece of this wall is standing, and in front 
of it the two deeply buried Corinthian col- 
umns known as Le Colonnacce, whose 
broken entablatures project from the wall. 
Its frieze is sculptured with high reliefs of 
excellent stjde illustrating Minerva's care 
for women's work. The cornice is heavy 
and over-rich. In a niche in an attic be- 
tween the two columns, stands a statue of 
Minerva. Between the columns is a flat- 
arched doorway which opened into the 
Forum of Vespasian. The entire interior 



3B3 



KOME 



of the wall was ornamented thus with col- 
umns, entablature, and statues. 

The Forum of Trajan, adjoining the 
Forum of Augustus on the N. W., was the 
largest and most spleiidid of the Roman 




Fig. 173. — Rome, Forum of Trajan. 

fora, and was bordered on two sides by a 
double peristyle. Excejit the portion un- 
covered in the Piazza del Foro Trajano, 
half of which was included in the great 
Basilica Ulpia, its site is almost entirely 
covered with modern buildings. (See Ba- 
silica Ulina and Column of Trajan, also 
Fig. 173.) 

Il Gesu (Jesuits' church). See S. Sjjir- 
ito. 

House of Livia. See Palace of the 
C'cBsars. 

House of Sallust, occupied in suc- 
cession by Nero and several later emperors, 
until 400 A.D., and built in the valley at 
the foot of the cliff of the Quirinal Hill, 
against which a massive retaining- wall was 
constructed. Some of the walls still stand 
to a height of over 70 ft., though much 
has recently been destroyed for applica- 
tion to modern uses. There is an ojoeu 
court beneath the cliff, on two sides of 
which buildings rise to a height of four or 
five stories. In the middle of the biiild- 
ings excavated there is a large circular 



domed hall, once encrusted with marble 
and ornamented with niches for statues. 
From beside this hall ascended a monu- 
mental staircase of marble, and another 
winds about one corner of the court to the 
top of the cliff, with landings 
at the several stories. 

House of the Vestal 
A'iRGiNS, or AtriiTm Vestse, 
at the east end of the Eoman 
Forum, behind the Temple of 
Vesta, of which only the cir- 
cular foundation remains. It 
consisted of a group of con- 
structions about a rectangular 
colonnaded court, measuring 
79 ft. by 226 ft. The courts 
was adorned with portrait- 
statues of some of the chief 
Vestals. In the east wing lies 
the tailinum. or drawing- 
room, a large and beautiful 
room with a floor of opus 
sectile in inlaid patterns of porphyi-y, 
basalt, and marble, and walls originally 
encrusted with marble ; from this room 
low doors with jambs and sills of red 
marble lead into the bedrooms of the six 
Vestals. Opposite the doors arched win- 
doAvs open on two side-courts. The ex- 
cellent construction and decoration point 
to the time immediately after Nero's fire. 
From one of the rooms of this wing a re- 
stored stair of thirty-six steps leads to an 
upper storj^, which seems of later date ; 
here are remains of a bath. There was 
still a third story. The south wing, dating 
from the reign of Hadrian, contains a 
number of small rooms, some of them fitted 
with grinding-mills and other utensils, 
and the dining and audience halls, richly 
adorned with marble and otherwise. The 
north wing is in a ruinous state, and the 
western angle is covered by Sta. Maria 
Liberatrice. 

The Lateral Palace was in existence 
before the time of Constantine, but was 
enlarged by him, and subsequently by 



354 



EOME 



successive popes, by wliom it was occupied 
as the official residence up to the removal 
of the papal seat to Avignon. It was re- 
peatedly destroyed by fire, and was sacked 
by the northern barbarians, but was as often 
rebuilt. The last rebuilding, under Sixtus 
v., at the end of the xvi cent., from the 
designs of Domeuico Fontana, left tlie 
palace substantially as it exists to-day, 
covering much less ground than formerly. 
Its plan is approximately a square of 250 
ft. with three similar fa9ades of three 
stories, each with an arched doorway of 
rustic masonry in the centre, within a 
narrow portico of engaged Doric columns. 
The windows have in the lower story hori- 
zontal caps, in the others pediments alter- 
nately triangular and segmental. The 
stories are separated by pedestal courses, 
the angles groined, and tlic building is 
crowned by an enriched cornice. The 
apartments surround a square court, with 
two stories of open arcades, the arches en- 
closed within an order of pilasters, Doric 
and Ionic respectively, and a tliird story 
in which the order is of caryatids and the 
intervals are iilled with square windows. 
The palace is now occupied as a museum 
of antiquities, and the rooms of tlie first 
and second stories contain a most interest- 
ing collection of ancient sculpture, sar- 
cophagi, mosaics, and i:)icturcs. (See also 
A'. Giovaiuii ill La f era no.) 

LiBKHiAN Basilica. See Sfa. JIaria 
Maggiore. 

The Mamertine Prisons consist of two 
cluunbers one above the other, excavated 
out of tlie rock of the Capitoline Hill, and 
lined with massive stone masonry without 
mortar. The upper of these is about 50 
ft. long and 32 ft. broad ; the lower is 
smaller and lower ; in botli the courses of 
the masonry are overlapped so as to form 
a vaulted roof. The two chambers are 
connected by a circular opening in the 
floor of the upper. The upper chamber 
was probably entered originally in the 
same way, but is now reached by a flight 



of stejJS from the church of S. Giuseppe 
del Falegnami overhead, leading down to 
a modern door. These prisons are among 
tlie oldest remains of Roman architecture, 
having been begun, according to Livy, by 
Ancus Martins, and enlarged by Servius 
Tullius, whence they were sometimes 
known as the Tullian prisons. St. Peter 
is believed to have been confined here 
under Nero, and the upper of the two 
chambers has been dedicated to him and 
known since the XV cent, as S. Pietro in 
Carcere {q. v.). 

Mausoleu-^1 of Augustus, on the Cam- 
ions Martins, a tomb for his family erected 
by the emperor in 28 B.C. It was a circu- 
lar structure about 320 ft. in lower diame- 
ter, rising in three stages, with a number 
of separate vaulted burial-chambers in the 
interior. Originally the base of masonry, 
revetted with white marble, was surmount- 
ed by a mound of earth iilanted Avith cy- 
presses, on the summit of Mliich stood a 
bronze statue of Augustus. Before the 
mausoleum were set up bronze tablets, on 
which was inscribed a record of the em- 
peror's deeds. The cojiy of this on the 
cella wall at Ancyra, is the famous Monu- 
mentum Ancyranum. Access to the re- 
mains of the mausoleum is through a pri- 
vate house in the Via dei Pontefici. 
There are visible important remains of the 
cylindrical substructions, in reticulated 
masonry of small blocks of tufa, with 
niches built of brick. A large part of the 
remains is incorporated in the Teatro Um- 
berto I. Several of the burial-chambers, 
however, are still accessible. 

Mausoleum of Hadrian. See Cusfle 
of Semi' Angelo. 

MusEO Capitolixo. See Capitol. 

OhKMsK of TUE IsEUM AXD SEKAPEUir, 

discovered in 1882 among the ruins of that 
sanctuary, near the apse of Sta. Maria 
sopra Minerva. It is of Syene gi-anite, 
1!1^ ft. long and 3 ft. wide at the base, and 
is covered with hieroglyphs referring to 
Kameses II. It has been erected before 



365 



ROME 



the railway station, as a monument to the 
sokliers who fell at Dagola, Abyssinia, in 
January, 1887. 

Obelisk of the Lateral, of red gran- 
ite, the oldest of the obelisks of Rome and 
the largest known. It was set up by 
Thothmes IV., in the xvi cent. B.C., be- 
fore the Temple of the Sun at Heliopolis, 
Egypt, brought by ship by Oonstantine the 
Great, and erected by Constantius in the 
Circus Maximus. On this site it was 
found buried in the ground and broken in 
three pieces, and was re-erected by Fon- 
tana before the Lateran Palace in 1588, 
under Sixtus V. It is covered with hiero- 
glyphs. The length of the shaft is 106 
ft. ; dimensions at the base, 9 ft. by 9| ft. ; 
total height, including Fontana's pedestal 
and cross, 149 ft. 

Obelisk op Moxte Cavallo. See 
Obelislc of 8ta. Maria Maggiore. 

Obelisk of the Piazza di Monte 
CiTORio, brought by Augustus from Heli- 
opolis at the same time with the obelisk of 
the Piazza del Popolo, 10 B.C. The foot 
still bears an inscription of dedication by 
Augustus to the Sun. The handsome 
hieroglyphs include the cartouche of 
Psammetichus I. In antiquity, the obe- 
lisk was made to serve as the needle of a 
sun-dial. It fell and became buried, and 
was rediscovered in 1436. Benedict XIV. 
caused it to be excavated, and Pius VI. 
set it up in its present position in 1792. 
The height of the shaft is 70^ ft. 

Obelisk of the Piazza del Popolo, a 
monolith 78^ ft. high (now broken), which 
stood originally before the great temple at 
Heliopolis, Egypt. It was brought to 
Rome and erected by Augustus in 10 B.C. 
on the spina of the Circus Maximus. It 
fell and was broken into two pieces, which 
were set up in their present position by 
Fontana, under Sixtus V., in 1587. The 
obelisk is of granite, and bears the hiero- 
glyphs of Seti Menephptah II., son of 
Sesostris (1195 B.C.), and Rameses III. 
It stands on a pedestal in tlie middle of 



the square, with lionesses at the four 
angles spouting water into basins. The 
total height, including the cross on the 
apex, is 118 ft. 

Obelisk of Sta. Maria Maggiore, 
erected under Sixtus V. by Fontana, in 
1587. It is of red granite, without hiero- 
glyphs, and was found broken in several 
pieces. It is one of a pair which stood be- 
fore the portal of the Mausoleum of Au- 
gustus, and is believed to have been 
brought from Egypt by Claudius. The 
height of the shaft, without the base, is 
48| ft. The comjjanion obelisk was erect- 
ed on Monte Cavallo in 1786, by Pius VI, 
It is slightly shorter than its fellow. 

Obelisk of the Trinita de' Monti, 
of red granite, with hieroglyphs. It was 
taken from the Grardens of Sallust in 1789, 
under Pius VI., and erected where it now 
stands. The height of the shaft is 48 ft. 

Obelisk of the Vatican, or of the 
Piazza di San Pietro, erected on its pres- 
ent site by the architect Fontana, under 
Sixtus v., in 1586. It is a monolith of 
red granite without hieroglyphs, and was 
brought from Heliopolis under Caligula, 
and set up later in the Circus of Nero. 
The height of the shaft is 82^ ft. ; the 
side of the base measures 8 ft. 10 in. 
The total height, with the modern pedes- 
tal and cross, is 132 ft. 

Oratory of St. Clement. See 8. 
CUmente. 

Palace. See also Palazzo. 

Palace of the C^sars, which in its 
final form occupied both summits of the 
Palatine Hill and the depression between 
them. The Palatine was the centre of the 
primitive city and the home of the old 
kings. Augustus early established his 
residence, with his celebrated library and a 
temple of Apollo, on the southwest slope 
of the Palatine. Tiberius built himself 
a palace toward the north, and Nero^'s 
Golden House extended from the Pala- 
tine to the Esquiline. The Flavian em- 
perors built their additions adjoining the 



336 



ROME 



House of Augustus, between the two sum- 
mits of the Palatine. The stadium, east 
of the House of Augustus, was built by 
Domitian and Hadrian, and restored by 
Septimius Severus, who added the Septizo- 
nium, a remarkable structure, though 
probably never, as held by some, seven 
stories high, at the S. "W. extremity of the 
hill. Tliis stood in part until the xvr 
cent., Avhen it was torn down by Sixtus 
\. Odoacer and Theodoric occupied the 
palace, but from the x cent, its ruins 
began to be invaded by monasteries and 
private establishments. The earliest im- 
portant excavations took place in 172G, 
and siiice then work lias been carried 
on with important results by the Rus- 
sian Government, Xapoleon III., and 
the Italian monarchy. Among the most 
notable remains disclosed are : a part of 
the wall of primitive Rome in large blocks 
of tufa, laid without mortar, alternately in 
headers and stretchers ; the substructions 
of the Temple of Jupiter Victor, dedicated 
in fulfilment of a vow by Fabius Maximus ; 
the House of Livia, with exceedingly fine 
mural paintings of mythological subjects ; 
the great throne-room of the Flavian pal- 
ace, with the tribune for the tlirone and 
niches for statues ; and tlie panlagotjiuin, 
or scliool for imperial slaves, whose M'alls 
and piers are covered witli sgraffiti scrawled 
by the pupils. The walls and arches re- 
maining are in part of a liiglily iinjwsing 
character. 

Palace of the Coxseuvatori. See 
Capitol. 

1*ALACE 

eran. 

Palace of the Vaticak. See 
icaii. 

Palazzo Altemps, a spacious and in- 
teresting palace of whicli tlie date and tlie 
architect are not known, though its design 
is attributed in part to Martino Lunghi, 
and in part to Perruzzi. It covers a space 
measuring about 140 ft. in M'idtli and "215 
ft. in depth, witli fac^ades on the front and 



OF THE Latkkax. See Lal- 



Yat- 



rear of no great interest, from the doorways 
of which straight corridors lead to open- 
vaulted arcades at the two ends of a large 
court, about 56 ft. wide and 85 ft. long, 
which is the most interesting portion of 
the palace. It has two stories of arcades, 
each faced with an order of pilasters, Do- 
ric below and Ionic above, but closed on 
two sides with windows, those of tlie sec- 
ond story being raised on pedestals con- 
nected by a balustrade, and the spandrels 
filled with decoration in relief. The third 
story, somewhat out of keeping with those 
below, has ill-proportioned windows in 
square panels. 

Palazzo Altieri, one of the largest of 
tlie Roman palaces, built in 1070 for Car- 
dinal Altieri, from tlie designs of Giovan- 
ni Antonio Rossi, and covering an area 
about 210 ft. by 350 ft. Its plan includes 
two great courts, of which the principal, 
measuring about TO ft. by 100 ft., is en- 
tered from three streets and surrounded 
by vaulted arcades faced with an order of 
grouped pilasters. The other court, meas- 
uring about 80 ft. by 1 50 ft. , is bordered on 
one side by extensive vaulted stables. The 
huge fa9ades are in three stories of pedi- 
mented windows, Avitli occasional quoined 
piers and a heavy bracketed cornice ; tliat 
on tlie Via del Plebiscito is raised in the 
middle into a two-storied attic. 

Palazzo Barberini, one of the most 
extensive and magnificent of Roman pal- 
aces, begun about 1G25 for the cardinal 
Francesco Barberini, from the designs of 
Carlo Maderno, continued under Borro- 
mini, and finished in 1630 under Bernini. 
T'lie estate of which it forms a part covers, 
with its dependencies and gardens, an area 
of something less than ten acres of ground. 
The palace itself is in plan about 280 ft. 
by 200 ft., with a raised centre and two 
projecting wings on its principal front. 
Between these wings the facade consists of 
three stories with three arcaded orders of 
pilasters, Doric. Ionic, and Corinthian, in 
seven bays, which in the first story are occu- 



357 



EOME 



pied by the open arches of a fine entrance 
loggia. The treatment of the upper stories 
is similar to that of the first, the orders 
being raised on balustrade courses and the 
arched openings filled with windows. On 
the wings and flanks of the building the 
principal lines of the orders are continued, 
the wall of the second story being divided 
into j)anels by flat pilaster-strips. An en- 
riched corniccione is carried around the 
whole building. The plan is extremely 
elegant, ingenious, and effective. A con- 
siderable proportion of the entrance story 
is given to an imposing vestibule, divided 
by rows of piers into square vaulted bays, 
and conducting on three sides to staircases, 
of which the central one, a double flight 
in an elliptical hall whose longer diameter 
is about 50 ft., leads to a fine terrace at 
the rear of the palace, on a level with the 
principal floor and Avith the gardens. To 
these a gentle inclined plane also conducts, 
opening from the lower hall between the 
two flights of the oval staircase ; its long 
perspective is terminated by a monumen- 
tal fountain surmounted by a statue of 
Apollo, at the distance of 150 yards from 
the palace. Another staircase, in a smaller 
oval at one end of the vestibule, is a con- 
tiiruous spiral to the top of the build- 
ing, with a continuous ramping order of 
coupled Doric columns on a balustrade 
following the spiral, a design manifestly 
inspired by the celebrated staircase of 
Bramante in the tower of the Belvedere 
of the Vatican. The apartments of the 
principal floor, arranged with perfect sym- 
metry, are of great splendor. The great 
salon in the centre of the principal front 
is some 80 ft. long, and nearly 50 ft wide, 
with a ceiling covered by a fresco of Pietro 
da Cortona. Behind it is a graceful ellip- 
tical vestibule over the great staircase, 
opening on the terrace and gardens. A 
suite of rooms in one wing of the palace 
contains a fine collection of pictures, and 
another on the upper floor is given to the 
famous Barberini Library. 



Palazzo Boadile, a xvi cent, palace 
ascribed to Griacomo della Porta. It has a 
simple fa9ade in three stages of square- 
headed openings, the first with a high 
doorway not in the centre of the front ; 
the low segmental - arched openings on 
each side are an unusual feature in the 
Eenaissance, if they are original. The 
second stage consists of a range of fine 
windows, on a balustrade course, with 
horizontal caps supported on consoles, also 
with a mezzanine story above. The stages 
are separated by string courses, the angles 
quoined, and the Avhole crowned by a 
strongly projecting enriched cornice. The 
interior has a court of which three sides 
are unfinished, the fourth side having two 
stories of arcades included in orders, re- 
spectively Doric and Ionic. 

Palazzo Boeghese, perhaps the most 
extensive and best known of the Roman 
palaces, begun in 1590 by Cardinal Dezzo, 
a Spaniard, under the architect Martino 
Lunghi the elder. A few years after it 
came into possession of Cardinal Borghese, 
who, becoming Pope Paul V., gave the 
palace to his brothers, by whom it was 
enlarged from the designs of Flaminio 
Ponzio. Its plan is very irregular. The 
principal front is about 130 ft. long, on 
the Via Fontanella ; that on the Piazza, 
originally about 200 ft., was lengthened 
by the extension of the palace to the Via 
Eipetta to not less that 400 ft. There is 
also a short frontage on the last-named 
street. The exterior is of little interest ; 
the two principal fa9ades are in three 
stages, each including a principal story 
and a mezzanine, with a central doorway 
under a Doric portico, and an Ionic por- 
tico enclosing the window above, the 
angles of the fronts emphasized by quoins 
and the faQades crowned by an enriched 
and effective corniccione, with a broad 
frieze, in which are the windows of the 
upi^er mezzanine. The small front on the 
Eipetta (that portion of the building hav- 
ing only the height of the first stage of 



35R 



EOME 



a loggia 



the greater fronts) is of more elaborate 
architecture, with a portico of coupled col- 
umns across the whole front, and 
above. The interior contains a 
vast number of rooms, large and 
small, of which the greater num- 
ber surround a noble court meas- 
uring G8 ft. by 9G ft., enclosed 
by two stories of vaulted arcades, 
the arches vspringing from blocks 
of entablature over coujiled Doric 
and Ionic columns. On three 
sides of the court these arcades 
carry a third story, with win- 
dows ; on the fourth side the sec- 
ond arcade is open both to front 
and rear, and gives a view of 
spacious gardens beyond, with 
three fountains on the enclosing 
Avail. A long suite of apart- 
ments on the ground -floor are 
occupied by what is perhaps the largest 
and finest private collection of pictures in 
Europe. {Sec Fig. 17^.) 

Palazzo Buoncompagxi (or Sora), a 
large palace built for Cardinal Fieschi at 
the beginning of the xvi cent., of which 
the design is, though with some uncer- 
tainty, attributed to Bramante. Its plan 
is nearly a sqi;are of 138 ft., enclosing an 
oblong court about 30 ft. by GO ft., sur- 
rounded by broad arcadcd corridors. It 
has an imposing fa9ade in three stages, 
the first witli a central arched doorway 
enclosed within an engaged portico of 
Doric pilasters with cntal)lature, and 
flanked l)y five windows of similar design 
on each side. The windows of the second 
story, also round - arched, are enclosed 
within Corintliian pilasters carrying en- 
tablatures and pediments alternately tri- 
angular and segmental. Tlie third stage 
has a range of square-headed windows 
with horizontal caps, and small square 
windows close under the cornice. The 
extremities of the fa9ade are marked by 
pavilions of slight projection with an order 
of flat pilasters on each stage. Doric. Ionic, 



and Corinthian respectiveh^ and these 
pavilions are carried above the flat roof 
as small square towers with angle-quoins 




Fig. 174. — Ronn.e, Pal. Bo'ghese. 

and a single plain square window in each. 

Palazzo Caffarelli. See Palazzo 
Vidoni. 

Palazzo Chigi, situated on the Piazza 
Colonna, and Ijuilt about 15G2 from the 
designs of Giacomo della Porta. It has a 
simple facade in three stages, of which 
the first is a low basement having win- 
dows with horizontal caps ; the second 
has a range of high windows with pedi- 
mented caps alternately triangular and 
segmental, and a mezzanine of square 
openings above. Tiic main cornice is 
over the mezzanine, the fourth stor}- be- 
ing treated as an attic. 

Palazzo Cicciaporci. A noticeable 
palace, built about 1520 from the designs 
of Giulio Eomano. Its f agade, about 113 ft. 
in length, is in three stages, of which the 
first is of rustic masonry with a high cen- 
tral arched doorway and three low square 
openings on each side for shops, covered 
by horizontal arches, and with a bearing- 
arch above like that of the doorway, en- 
closing small mezzanine windows. The 
wall of the second and third stories is 
divided into square panels, those of the 



359 



ROME 



second story occupying the intervals of 
a badly developed order of pilasters, and 
containing square windows with horizon- 
tal caps. Over the third story is a pro- 
jecting cornice with modillions, and above, 
an attic consisting of an open colonnade 
divided by flat pilasters into groups, each 
of four openings. 

Palazzo della ConsultI. This pal- 
ace, now occupied as the Ministry for 
Foreign Affairs, was built about 1730 for 
Clement XII., from the designs of Ferdi- 
nando Fuga. It has a trapezoidal plan of 
much ingenuity, with a principal frontage 
of about 230 ft., and a depth of about 230 
ft. The principal featui-e is a rectangular 
court 76 ft. by 82 ft. with corridors lead- 
ing from the centre of each of its sides to 
the four fa9ades. The architecture of the 
court follows that of the fa9ades, the wall 
being divided into two high stages, each 
with a principal and mezzanine story, and 
crowned by a cornice and frieze with tri- 
glyphs, with a balcony and low attic above. 
The front is of vigorous though somewhat 
baroco design, divided into three vertical 
compartments with a doorway in each, 
that in the centre flanked by detached 
Doric columns supporting blocks of en- 
tablature, and a broken pediment with 
sitting figures. This front is in two stages : 
the lower includes a high basement story 
and mezzanine ; the upper has a range of 
high windows with consoles carrying seg- 
mental pediments, the windows of both 
stories being enclosed in square panels. 
The angles of the front and the limits of 
the central division are marked in the first 
story by rustic quoins, in the second by Co- 
rinthian pilasters, and the whole is crowned 
by a heavy projecting cornice on consoles, 
between which are square windows. 

Palazzo Corsin^i. ■ This great palace, 
of which the original design has been at- 
tributed to Bramante, was built by the 
family of Riario, presumably in the xvi 
cent., and bought in 1732 by Cardinal 
Corsini, a nephew of Clement XII., who 



made extensive changes and additions to 
it from the designs of Ferdinando Fuga. 
Its plan is a rectangle measuring about 
340 ft. on the street, and having a depth 
of 156 ft. Its long fagade is monotonous 
and uninteresting. Three great arches in 
the centre open into a vaulted vestibule 
44 ft. wide, leading to the great double 
staircase occupying the two long sides of a 
hall 44 ft. by 80 ft., on each side of which 
is a square court 65 ft. by 80 ft., with 
vaulted arcades on front and rear, the 
latter open and continued along the whole 
length of tlie palace, interruj)ted only by 
the grand staircase in the centre, and 
opening on a great rectangular court, be- 
yond which are extensive gardens running 
up the slope of the Janiculum. Many of 
the apartments of the principal story are 
occupied by a large and fine collection of 
pictiires. 

Palazzo Costa. This xvi cent, pal- 
ace, probably from Peruzzi's designs, has 
a fine faQade about 63 ft. long, in two 
principal stages and an attic. The first 
story is of coursed masonry vigorously 
rusticated, with a central square door and 
broad square openings for two shop-fronts 
on each side, combined Avith a row of mez- 
zanine windows. The second story has 
an order of grouped Doric pilasters with 
triglyphs in the frieze and pedimented 
windows in the intervals on a pedestal 
course. The high attic is divided by pi- 
lasters, the intervals j)anelled, with square 
plain windows. 

Palazzo Doeia Pamfili, one of the 
largest and most magnificent of the Roman 
palaces, covering an area somewhat more 
than 200 ft. wide and 330 ft. deep, with 
a front on the Corso, another on the Pi- 
azza del CoUegio Romano, and a third on 
the Piazza di Venezia. From the Corso 
one enters directly a spacious and ele- 
gant court measuring about 75 ft. by 85 
ft., surrounded by two stories of vault- 
ed arcades with Doric and Ionic columns. 
From the side the entrance is by a cnri- 



360 



ROME 



onsly vaulted vestibule, designed by Bor- 
romini or by Bernini, with semicircular 
ends, from which a broad staircase as- 
cends to the upper floors. The interior 
contains many fine apartments sumptu- 
ously adorned, of whicli an extensive suite 
is occupied by one of the largest private 
collections of pictures in Rome. The 
fac;ades, of somewhat monotonous archi- 
tecture, are the work of Valvasori and 
Piotro da Cortona. The sj)acious stables, 
in tliree vaulted aisles supported by 
Tuscan columns, deserve notice. 

Palazzo Faknese. Tliis famous pal- 
ace was begun in 1530 by the cardinal 
Alexander Farnese, afterward Paul III., 
from the designs of Antonio Sangallo 
the younger. It has a perfectly regular 
rectangular plan, measuring 187 ft. 
in front, and 245 ft. deep. Its prin- 
cip;d fayade is characterized by a 
noble simplicity of design. The long- 
front is unbroken by any vertical di- 
visions or by any grouping of win- 
dows. The unusual liciglit of Oii ft. 
is divided into three stages, of wliicli 
the first has a central arclied door- 
way in rustic work, flanked by six 
windows on each side with horizoutal 
caps, and is crowned b}' a strongly 
profiled cornice. T'he second story 
has a range of rectangular windows 
on a balustrade course, flanked by 
Corinthian three - quarter columns 
witli entablature and pediments, the 
tliree central ones grouped together. 
Tlie stories are separated by friezes 
and cornices b e a ring balustrade- 
courses. Tlie tliird story presents an 
unbroken range of thirteen round- 
arched windows, with Ionic three- 
quarter columns carrying broken 
pediments. The angles of the front 
are emphasized by quoins, and the fa- 
9ade is crowned by a magnificent cornic- 
cione. This great composition is one of the 
most celel)rated and most admired in Italy, 
and not witliout justice, for though its 



faults are obvious — the crowding of parts 
at the centre and at the angles, the flatness 
of the central motive in the second story, 
and the surprising ugliness of the windows 
in the third — yet the simplicity and breadth 
of the design, the grandeur of its scale, the 
noble spaces of wall above the windows, and 
the unrivalled cornice, are sufiicient to 
produce an efl'ect of majesty which scarce- 
ly belongs in the same degree to any other 
example of domestic architecture. The 
other elevations follow the lines of the 
principal front, except that in the rear the 
central portion, alwut G8 ft. broad, is given 
in each story to an arcade of three arches, 
faced with orders of columns, Doric and 
Ionic, and Corinthian pilasters. "With this 
magnificent exterior, tlie interior is fully 



J^^ 




Fig. 1 75. — Rome, Pal. Farnese, Loggia. 

in keeping. From the central doorway 
of the front, a three-aisled vestibule 37 
ft. wide and 43 ft. long, divided by two 
lines of Doric columns on pedestals — the 



!i()l 



EOME 



central aisle covered with a panelled and 
riclily decorated barrel-vault, tlie side-walls 
divided by half-columns with niches be- 
tween — leads to an interior court 88 ft. 
square, surrounded by two stories of Eo- 
man arcades — of which those of the first 
story are open on all sides, and tliose of 
the second on two — under a Doric order 
on the first story, and Ionic on the second. 
The third story wall is faced with a corre- 
sponding order of grouped Corinthian pi- 
lasters, the intervals occupied by beautiful- 
ly composed windows with pediments. 
All the details of this court are of the 
greatest elegance. Many of the apart- 
ments of the palace, the smaller as well as 
the larger, are remarkable for tlie richness 
of their panelled ceilings, and the gallery, 
a fine room about 21 ft. wide and 65 ft. 
long, is decorated with a series of frescoes 
of mythological subjects by Annibale Ca- 
racci. The work begun by Sangallo, and 
carried forward by him for more than fif- 
teen years, he was not permitted to finish. 
In 1546 the exterior walls were finished uj:) 
to the cornice, and two stories of the court 
were nearly complete. But the pope re- 
solved to establish a competition of archi- 
tects for the continuance of the work. 
Projects were accordingly received from 
Sangallo, Michael Angelo, Vasari, Sebas- 
tian del Piombo, and Perino del Vaga. 
The work was given to Michael Angelo, 
who added the great cornice, and whose 
connection with it continued until his 
death ; although it has been maintained 
that the credit for the completion of the 
palace belongs rather to Vignola, who cer- 
tainly came into control after Michael An- 
gelo's death. A part of the fagade in the 
rear was the work of Griacomo della Porta. 
{See Fig. 175.) 

Palazzo Farnesika, or Villa Farne- 
sina. This famous palace, one of the most 
interesting works of Baldassare Peruzzi, 
has rather the character of a villa, being of 
comparatively small dimensions, and stand- 
ing detached in spacious pleasure-grounds 



on the river bank. It was built in 1506 
as the residence of the renowned banker 
Agostino Chigi, the munificent patron of 
letters and art, and friend of Leo X. Its 
plan is a rectangle of about 117 ft. by 88 
ft., the principal front having a recessed 
centre between two projecting Avings. It 
is in two stages, each with an order of 
Doric pilasters and plain entablature 
raised on pedestal courses. In the first 
story the five inter columniations of the 
central portion of the front were once an 
open arcaded loggia, but are now closed by 
glazed sashes. In the projecting wings 
and in the second story the bays have each 
a square -headed window with moulded 
architraves and horizontal cap. The up- 
per order has a broad frieze with small 
windows, between which are reliefs of a 
playful character, and an enriched cor- 
nice. The chief fame of this palace at- 
taches to the interior, which contains sev- 
eral large and fine apartments of which 
the decoration is of the most remarkable 
character. The principal rooms were 
adorned with frescoes by Raphael, Griulio 
Romano, Sebastiano del Piombo, Daniele 
da Volterra, and Annibale Caracci. Tlie 
long entrance-hall, formerly an open log- 
gia, bears on the lunettes of the ceiling a 
series of paintings designed by Raphael, 
and executed for the most part by his 
pupils, representing the story of Cupid 
and Psyche, and the long room opening 
from the end of the entrance-hall contains 
one of the most celebrated of Raphael's 
frescoes, the Triumph of Galatea. The 
second story has two great rooms painted 
by Griulio Romano, Sodoma, and Peruzzi. 
Palazzo di Firexze, formerly the 
official residence of the Tuscan ambassa- 
dor, built by Pope Julius III. upon the 
basis of an older structure about 1550, from 
designs attributed, though without cer- 
tainty, to Vignola. Its plan is irregular, 
with three frontages, of which the princi- 
pal, though the shortest, is about 112 ft. 
long. There is an interior court some 48 



ROME 



ft. by 65 ft., with vaulted arcades on three 
sides, composed of round arches supported 
on cohimns with composite capitals, and a 
large enclosed garden, toward which the 
buildings present a fine fagade three stories 
high, with the centre of the first two occu- 
pied in each case by an open loggia with 
three arches under an order of three-quar- 
ter columns, Ionic below and Corinthian 
above, the first loggia vaulted, the second 
with a flat ceiling panelled and richly dec- 
orated ; the walls also decorated witli 
much elaborateness. 

Palazzo Giraud. It was built about 
150G from the designs of Bramante, for the 
Cardinale da Corneto. Its jilan is a rec- 
tangle of some 135 ft. on the front and 180 
ft. deep, enclosing a large square court 
surrounded on the first story by vaulted 
arcades. Tlie facade is of rustic masonry 
in three stages, the first a plain basement 
witli a weak central doorway of later de- 
sign and three small square windows on 
either side. The two ujiper stories are 
each faced with an order of wide-spaced 
coupled Corinthian pilasters, occupied in 
the second stoi'y by round-arched windows 
with pilasters and horizontal cap, and in 
the third story bj' two ranges of insignifi- 
cant windows. 

Palazzo Lante, an interesting palace 
of wliich tlie date and tlie areliitect are 
uncertain, ))ut which is believed to have 
been built by Leo X. early in the xvi cent., 
for his brother Giuliaiui de' Medici, per- 
haps from tlie designs of Bramante, and 
carried out by Sansovino. It has a simple 
but fine faQade about 120 ft. long, in 
three stages separated by slight moulded 
cornices. The openings are alike through- 
out, except for variations in detail, and 
all are square-headt'd. with Hat caps and 
consoles, except that in the third stage 
is an upper half-story of square windows 
framed in simple mouldings. On each 
side arc three windows of similar design 
to the doorway, witli basement windows 
under tliem. Under the roof is a rich 



and graceful cornice above a sculptured 
frieze. The interior has a fine oblong 
court, approached through an arched ves- 
tibule whose walls are divided by niches 
and panels, and surrounded on three sides 
by two stories of vaulted arcades, the arch- 
es springing from Doric and Ionic columns. 
At one end is a monumental fountain sur- 
mounted by a group of antique sculpture. 

Palazzo Lii^otte, sometimes called the 
little Farnesina, a small but interesting 
palace, whose history is unknown, and 
whose design has been conjecturally as- 
cribed to Bramante, to Michael Angelo, 
and with more probability to Baldassare 
Peruzzi. The facade is in three stages, 
the first of coursed rustic masonr}' with a 
round-arched central doorway and win- 
dows. In the two upper stories the 
windows are square-headed, those of the 
second story having pedimeuted caps alter- 
nately triangular and segmental. The 
fleur-de-lys of the Farnese famil}^ orna- 
ments the belts between the stories, and 
the window sills are continued as string 
courses aci'oss the front. The angles of 
the two upper stories are quoined, and the 
front is crowned by a good cornice with' 
modillions and dentils. In the interior a 
vestibule with an order of pilasters on the 
side walls and a panelled barrel-vault leads 
to a small but elegant court, open toward 
the rear above the first story, of M'hich the 
three stories are treated in a style of great 
elegance with open loggie, arcaded below 
and colonnaded above. 

Palazzo Massimi, the name of two jjal- 
aces built during the first half of the xvi 
cent., by the marquis Domenico Massimi, 
for his two sons, on the site where his 
ancestor Pietro Massimi had, in 1455, es- 
tablished the first Roman printing-press. 
The buildings were begun by Baldassare 
Peruzzi after the sack of Rome in 1527 by 
the Constable dc Bourbon, and were the last 
important work of that architect, who 
died in 153G, before its completion. The 
facades fitted the curving line of a nar- 



363 



EOME 



row street, and have together a length of 
about 165 ft., of which about 90 ft. be- 
longs to the larger palace. Of this front, 
which is of rustic work, most of the 
lower story is given to an 02:)eu vestibule 
behind an order of Doric columns, con- 
tinued at the ends in pilasters. Above 
the entablature of this order is a balus- 
trade course bearing a range of rectangu- 
lar windows with horizontal caps sup- 
ported on consoles. Two stories of small 
oblong windows follow, and then an en- 
riched corniccione. The interior is in- 
teresting from the ingenuity of its plan, 
and from the extreme elegance and beauty 
of its details and decoration. From the 
curved vestibule of the front, a master- 
piece of decorative design, a straight 
vaulted corridor leads to an oblong court 
about 30 ft. by 35 ft., with a vaulted colon- 
nade at each end, and the order carried 
around the sides by pilasters, over which is 
a second story with an order of Ionic pi- 
lasters with a decorated frieze, and win- 
dows in the intervals. From the front 
colonnade a stairway ascends to the prin- 
cipal story, where at the end of the court 
is an open loggia, with an Ionic colonnade. 
The principal apartments of this floor are 
interesting and valuable examples of the 
most refined and artistic Renaissance 
decoration ; the doors of carved oak, 
framed in white marble, the ceilings of 
oak and pine, with carved panels decora- 
ted with gold and color, the walls adorned 
with broad friezes of varied character, are 
characteristic of the best period of the Ee- 
naissance. The smaller j^alace partakes 
of the general character of the larger, but 
with less richness and elaborateness of or- 
nament ; its plain fa9ade continues the 
features of the larger palace, but without 
the order in the lower story, the rustica- 
tion, or the enriched cornice. The court 
has a picturesque loggia at the farther 
end. 

Palazzo Mattei di Giove, a late Ee- 
naissance palace built in 1021 for tlie 



duke Asdi'ubale Mattei, from the designs 
of Carlo Madei'uo, and interesting mainly 
from the extent and character of its 
sculptural adornments. It has two fa- 
9ades of nearly equal length (about 130 ft.), 
of which, however, one is extended by ac- 
cessory buildings. From each of these 
a corridor leads to the central court, 
measuring about 40 ft. by 50 ft., of which 
one end is bounded by a three-arched 
vaulted loggia, repeated on the second 
story, and with a third story of blind 
arches, the arches in each story being in- 
cluded within an order of pilasters. At 
the opposite end of the court, this archi- 
tecture is repeated in a single story, over 
which is a terrace, and through the cen- 
tral arch of which access is had to a sec- 
ond court, larger but plainer than tlie 
first. Statues stand on pedestals against 
the pilasters of the first court, and the 
side walls, which have little relation to the 
ends, are hung like a museum with a mul- 
titude of ancient bas-reliefs, medallions, 
busts, and sculptured ornaments between 
their many windows. The vestibule, log- 
gie, and staircase are iitilized in like man- 
ner. The principal rooms are painted 
with frescoes, and the staircase landings 
are covered by low domes with stucco dec- 
orations. 

Palazzo Mattei Paganica. Ludovico 
Mattei built this palace in the middle of 
the XVI century. Its design has, though 
with some uncertainty, been attributed to 
Vignola. It has a regular plan, covering 
a square of about 90 ft., with a straight 
corridor leading from the centre of the 
fa9ade to a rectangular court, entered 
under a vaulted arcade at the end, over 
which is an open loggia with a flat 
panelled ceiling richly decorated. From 
the farther end of the court opens on each 
side, like a transept arm, a vaulted loggia. 
The plain fa9ade, with four ranges of 
square-headed openings and a central 
door, has quoined angles and an enriched 
frieze and cornice. 



ROME 



Palazzo di Monte Cavallo, or del 
Quirinale, formerly a summer palace of 
the popes, ou the Quiriual Hill, now the 
official residence of the king of Italy. 
The buildings are of immense extent, and 
though the work of successive jieriods, the 
original summer palace of 1540 having 
been enlarged repeatedly by various popes 
and under various architects, among whom 
were Domenico Fontana, Carlo Maderno, 
Lorenzo Bernini, and Ferdinando Fnga, 
they preserve a substantial symmetry of 
plan and uniformity of design. The jjhm 
includes a rectangular court 140 ft. wide 
and 326 ft. long, enclosed on three sides 
by a vaulted arcade in the intervals of an 
order of Doric pilasters, above which is a 
single story of square windows with hori- 
zontal caps. At the end of the great 
court a recessed portico of five arclies, 
from which opens a spiral oval staircase 
with a ramping order of columns, gives 
access to the apartments of state, which 
are numerous and WcU-appoiated, tliougli 
of no special architectural interest. They 
are also approached at the other extremity 
of the court by an imposing double stair- 
case, built by Flaniinio Ponzio, whicli 
leads to the richly decorated fSala Regia, 
a hall 150 ft. long, and the adjoining Ca- 
pella Paolina, all additions of Paul V. 
The exterior architecture is simple and 
regular, though somowliat ineffective. The 
principal front on the Villa Pia is in two 
stages with an arched doorway enclosed in 
two rustic pilasters, the principal story 
presenting a long range of windows witli 
pedimented caps, on a balustrade course. 
Above the original cornice two additional 
stories have been built, (piite out of keep- 
ing with those below. Behind the palace 
are extensive gardens. 

Palazzo di Monte Citorio, or Curia 
Innocenziana, a large palace begun in 
1650, by Prince Ludovisi, from the de- 
signs of Bernini, and bought in 1G97, after 
a long discontinuance of the works, by In- 
nocent XII., who finished it under the di- 



rection of Carlo Fontana, for the use of 
the higher courts of law, and gave it his 
name. The plan is chiefly interesting from 
its central feature, a spacious vaulted vesti- 
bule divided into three aisles, and leading 
directly to a fine court 118 ft. wide and 
130 ft. deep, terminating in a great semi- 
circle, around whicli is carried a broad 
corridor. This court has been, since the 
occupation of Rome as the capital of the 
kingdom, the seat of the Italian Parlia- 
ment, a provisional building of wood hav- 
ing been constructed in 1871 filling its 
semicircular portion. The long fa9ade 
is of brick in five vertical divisions, of 
which the central one has a portico of 
four Doric three-quarter columns witli en- 
tablature and balustrade, the three inter- 
vals enclosing doorways. On each side of 
the central division tlie line of the front 
bends backward. This front is in three 
stages. A strongly moulded cornice sepa- 
rates the first and second stages, above 
wliich the vertical divisions are marked by 
Corinthian pilasters carrying a full Co- 
rinthian entablature with small windows 
in the frieze. 

Palazzo Muti-Papazzurri. Of the 
two 2)alaces known by tliis name the larger, 
situated in the Piazza della Pilotta, was 
built near the end of the xvii cent, from 
the designs of Mattia de' Rossi, a pupil of 
Borromini. It has an irregular plan cov- 
ering an area about 85 ft. by IGO ft. The 
front shows two narrow advancing wings 
embracing a deep court, which is closed in 
tlie lower story by a M'all, where the arclied 
entrance is covered by an engaged portico 
of four Tuscan columns, flanked by pilas- 
ters, \vith a balustrade adorned with stat- 
ues. The simple facades have tliree rows 
of windows with caps, pedimented below 
and plain above, and a bracketed cornice 
with balustrade and statues. The court, 
level with the street, is lined with stone 
benches, and raised at the rear into a plat- 
form with a balustrade and steps leading 
to a fountain at the back, and a door on 



365 



EOME 



either liaud. A vaulted transverse corri- 
dor separates tlie plan into two portions, 
of wliicli the rear portion contains the 
great staircase and extensive stables. 

Palazzo Negroni, a large palace of 
simple design, built in 1564 from the de- 
signs of Bartolommeo Ammanati. Its 
plan is regular and forms a square of some 
112 ft,, with a central court about 36 ft. 
square, surrounded by arcades, and a wing 
in the rear. The fa9ade, with quoined an- 
gles and a light modillioned cornice, is in 
three stages, the lowest having a central 
doorway with moulded architraves and a 
horizontal cap with consoles, and four win- 
dows of similar design on each side. The 
second stage has a range of similar win- 
dows on a balustrade-course, with a mez- 
zanine story of square windows above ; 
the third has simple rectangular windows 
with moulded architraves. 

Palazzo JSTiccolini, a small palace 
built in 1526, from the designs of Sanso- 
vino, with a skilfully arranged irregular 
plan, its frontage being inconsiderable, but 
with a depth of 185 ft., and a breadth at 
the rear of about 80 ft. A long corridor 
leads from the centre of the front to a very 
elegant square court with a broad vaulted 
loggia at each end, faced with an order of 
Doric pilasters enclosing arches, the order 
being carried round the sides of the court, 
and the wall above having an Ionic order 
of pilasters with two stories of windows in 
the intervals, and a broad decorated frieze. 
Beyond this is a larger court of simpler 
architecture, bordered on one side by the 
stables, with a niche and fountain occiipy- 
ing the centre of another side. The sober 
fagade, which lacks its cornice, is in three 
stages, separated by strong balustrade- 
courses, the lowest having a central arched 
doorway of rustic masonry, between two 
broad sho^D-windows covered by horizontal 
arches. The windows above are squai'e- 
headed, the middle stage including the 
piano noiile and a low mezzanine. 

Palazzo Odescalchi, a large palace 



built from the designs of Bernini, about 
1660, with a great fa9ade in three divi- 
sions, of which the central one has a base- 
ment story with two arched doorways 
flanked by detached Doric columns, with 
entablature and balustrade. Above this 
story is a cornice on which is an order of 
Corinthian pilasters, enclosing two stories 
of windows and supporting a full entabla- 
ture, the cornice projecting on consoles 
with enriched panels between, and a balus- 
trade above. On each side of the central 
mass is a short prolongation of it, in which 
the windows of the three stories are con- 
tinued, but the wall is of rustic work 
without the order. 

Palazzo Ossoli, a small palace built 
dui'ing the first half of the xvi cent., from 
the designs of Peruzzi, enclosing an in- 
terior court about 25 ft. square with a 
vaulted arcade on one side. Its fagade is 
in three stages, the first of rustic work, 
with a narrow central arched doorway and 
two square windows on each side, with 
moulded architraves and consoles support- 
ing horizontal caps. The two upper. 
stories have each an order of pilas^rs, 
Doric and Ionic respectively, on hi^ bal- 
ustrade-courses, the intervals having each 
a square window, of which those of the 
second story have horizontal caps. 

Palazzo Palma, a Eenaissance palace 
built in the xvi cent., from the designs of 
Antonio Sangallo the younger, and highly 
praised by Vasari. Its plan is a rectangle 
of about 85 ft. by 114 ft., with two fronts, 
of which the principal has three stories of 
simple square-headed windows with mould- 
ed architraves and liorizontal caps of 
small jDrojection. Under the second story 
is a belt ornamented with a guilloche, un- 
der the third a dentil cornice which is re- 
peated on a large scale at the eaves. The 
angles are quoined, and in the centre is an 
arched entrance doorway, enclosed by an 
engaged Doric order of columns on high 
pedestals. The interior contains a court 
about 33 ft. square, with two superimposed 



866 



EOME 



orders of pilasters, a low Doric order en- 
closing arches in the first story, and a 
high Ionic with square windows above. 

Palazzo Pamfili, a conspicuous palace 
built about 1650 by Innocent X., from the 
designs of Girolamo Eainaldi, with a 
fa9ade on the Piazza Navona of nearly 250 
ft., and depth of 120 ft. The fa9ade is 
in the worst style of the Eenaissance, 
three stories high, the ornate central di- 
vision carried up with an additional story 
treated as an open loggia. The plan has 
some interesting features. A square vesti- 
bule, divided by two lines of piers into 
nine vaulted bays, leads to an interior court 
about 50 ft. square, separated from an- 
other somewhat larger by an open loggia 
of six square bays, vaulted like those of 
the vestibule. 

Palazzo Rospigliosi, on the Quirinal, 
a large and interesting palace, with much 
pictxiresqueness in its disposition, but not 
especially remarkable for its design. The 
palace itself encloses on two sides a square 
court, opening on a third side to the street, 
and liaving on its fourth a long garden 
raised some 15 ft. above the street, at one 
end of which next to the street is a casino 
Avith three rooms, of which that in the 
centre has on its ceiling the Aurora of 
Guido. The other two rooms contain not- 
able pictures by Domenichino, Vandyke, 
Eubens, Titian, and other masters. The 
palace was built in 1G03 for Cardinal Sci- 
pio Borghcse, from the designs of Flami- 
nio Ponzio. It was enlarged a few years 
later under Carlo Maderno, for Cardinal 
Mazarin. 

Palazzo Euspoli. This is one of the 
largest of the private palaces of Eome, 
built in 155G from the designs of Amma- 
nati. It has an unbroken front about 250 
ft. long, of great simplicity, with quoined 
angles and an enriched cornice. It is in 
three stories, the first having an arched 
entrance doorway of rustic masonry with 
a horizontal cornice, dividing a range of 
square windows with horizontal caps, with 



square panels below. The second, or jn-in- 
cipal story, has nineteen windows on a 
simple string-course, with triangular pedi- 
ments ; the third story windows are plain. 
Tlie interior is remarkable chiefly for its 
fine staircase of white marble, built by 
Martino Lunghi the younger. 

Palazzo Sacchetti, a large palace of 
simple architecture and elegant detail, 
built about the beginning of the xvi 
cent., by Antonio Sangallo the young- 
er, as his own residence. Its plan is nearly 
a square of 110ft., enclosing a large square 
court surrounded by a single story of ar- 
cades vaulted on two sides, enclosed in Do^ 
ric pilasters, and with a large terrace-gar- 
den in the rear, at the back of which is a 
small garden-house with a loggia overlook- 
ing tlie Tiber. The fa9ade on the Strada 
Giulia is in three stages ; it has a central 
sqiiarc doorway with moulded architraves 
and simple horizontal caps on consoles, and 
three ranges of windows of nearly similar 
design, the second stage having also a 
mezzanine story with square windows. 
The stories are divided by broad friezes 
without ornament, and the front is crown- 
ed by an enriched cornice. 

Palazzo Salviati, an extensive pal- 
ace, Florentine in style, built aloout 1580 
by the cardinal of that name, from the de- 
signs of Baccio Bigio, in jireparation for a 
visit of King Henry III. of France. The 
plan, which measures about 190 ft. by 330 
ft., has some interesting features. It in- 
cludes three courts, the largest of which 
is square, surrounded on three sides by 
vaulted arcades, the fourth side open to 
the gardens ; the other two are narrow and 
long with semicircular ends. Of these 
one is in two levels, following the slope of 
the Janiculum, with a double semicircu- 
lar staircase connecting the two, a foun- 
tain between, and the vista prolonged by 
an artificial cascade. The fa9ade is in two 
stages and five vertical divisions. The fii'st 
stage is of nistic work of unusual and com- 
plicated design, with square ojjenings in 



367 



EOME 



the centre and ai'ched in tlie wings ; and 
a mezzanine story above. The second 
stage has a range of tall windows with 
horizontal caps on a balnstrade-course, 
and above them are low windows, all 
square-headed. The vertical divisions are 
marked by angle-quoins, and the front 
is crowned by a projecting cornice with 
brackets. 

Palazzo Sciakra, built at the com- 
mencement of the XVII cent., from the 
designs of Flaminio Pouzio, with a single 
and dignified fa9ade about 140 ft. long, 
in three stories, the lowest having a fine 
central doorway which has been attrib- 
uted to Vignola, and is composed of an 
arch of rustic masonry with decorated im- 
posts and keystone, faced with a Eoman 
Doric order of two detached columns on 
pedestals. The windows, all square-head- 
ed, have in the first and second stories 
simple horizontal caps. The second story 
windows rest on a balustrade-course, those 
of the third on a moulded belt. The 
angles are quoined, and the whole is fin- 
ished by a fine enriched cornice. 

Palazzo del Se^s^atoke. See Caj)- 
itol. 

Palazzo Sora. See Buoncompagni. 

Palazzo Spada, built about 1560, 
from the designs of Giulio Mazzoni, a 
pupil of Daniel of Volterra, who showed 
himself to be more decorator than archi- 
tect. It covers a square of about 150 ft., 
with spacious gardens and outbuildings in 
the rear. Its singular fa9ade is in three 
stages, of which the first is of rustic ma- 
sonry, with a central arched doorway and 
four square-headed windows on each side, 
with moulded architraves and horizontal 
caps. The second and principal stage 
has two ranges of simple windows, be- 
tween and about which the whole wall is 
fretted with a jDrofusion of niches, tablets, 
medallions, figures, garlands, and other or- 
naments in stucco, suggesting a design in 
tapestry more than an architectural com- 
position. The third stage has simple 



square windows, between which are square 
decorated panels, and above them an en- 
riched cornice. The interior contains 
tAvo courts, of which the princijoal is sur- 
rounded on three sides by handsome vault- 
ed arcades, faced with an order of Doric 
pilasters, over the entablature of which is 
a band of stucco reliefs. The wall of the 
court above the arcade is in two stages 
corresponding with those of the facade, 
with an elaborately enriched cornice, and 
sculjDtured friezes above and below the 
upper windows. The design of the mid- 
dle stage repeats with variations that of 
the fa9ade. Much of this decoration is 
the work of Borromini, who also built a 
colonnade leading from the smaller court, 
constructed in simulated perspective, nar- 
rowing toward the end, the columns placed 
at diminishing intervals and lessening in 
size and height — a trick to which there are 
many parallels in the Italian Eenaissance. 

Palazzo Stoppaxi. See Pal. Vidoni. 

Palazzo di Vbn^ezia, one of the oldest 
as well as one of the largest and most im- 
posing of the Roman palaces ; attributed 
by Vasari and Milizia to Giuliano da Ma- 
jano, and lately to Francesco del Borgo. 
It Avas built in 1468 by Po|)e Paul II., a 
Venetian, and given by Pius IV., a cen- 
tury later, to the Eepublic of Venice for 
the residence of its ambassadors. When 
A^enice was absorbed by the Austrian em- 
pire, the palace became the property of the 
emperor, and it is now the official residence 
of the Austrian ambassador. The palace 
was built about the ancient church of S. 
Marco {q. v.), at the time of the restoration 
or rebuilding of that church. Its plan is a 
rectangle some 400 ft. long and 250 ft. 
broad, enclosing a great oblong court, and 
with two principal fa9ades Florentine in 
style, in three well - marked stages sep- 
arated by moulded string-courses, the first 
with simple round -arched windows and 
moulded architraves, the second with broad 
square windows divided vertically and lior- 
izontally after the manner of a French 



368 



EOME 



croxsee ; the third with small square win- 
dows and horizontal caps. Above all is a 
bold arched corbel-table crowned with 
square battlements, giving to the building 
a mediteval character rare among the Ro- 
man palaces. The great interior court 
was to be surrounded by two stories of 
vaulted arcades, which were left unfin- 
ished. They have slender arches under 
orders of Doric and Corinthian engaged 
columns, those of the lower story on high 
pedestals ; the second order raised on a 
balustrade-course. One end of the court 
is bounded by the church of S. Marco, 
into which a side entrance opens from 
the arcade. Attached to the palace at 
one angle is a second court about 115 ft. 
square, sometimes called the Little Palace, 
surrounded by two stories of vaulted ar- 
cades, the arches springing in the first 
story from octagonal Corinthian pilasters, 
and in the second from short Ionic col- 
umns. These arcades, open toward the 
court, are closed on the exterior by faQade- 
walls in three stories, the two upper hav- 
ing arched panels connected by mould- 
ed imposts, the second story crowned l)y 
a strong arched corbel-table, the third, 
apparently a later addition, with square 
battlements. {See Fig. 170.) 

Palazzo Vidoni, or Stoppani, a large 
palace of simple and dignified design, 
commonly attributed to Raphael, and pre- 
sumed to have been built about 1513. 
It has a fapade some 230 ft. long, in 
three stages, the lowest of rustic masonry, 
with the centre distinguished by a dif- 
ferent treatment of wall surface, and of 
openings, of which tliere are seven, alter- 
nately square and arched. The second 
story presents an unbroken range of 
coupled Doric columns on a balustrade- 
course, with tall windows with horizontal 
caps in tlie intervals. The third story is 
an ill-designed attic of later date, and 
quite out of keeping with tlie general 
composition. 

The Pantheon, the best preserved an- 



cient monument of Rome, and one of the 
most notable buildings in the world, con- 
sists of a great cylindrical cella, covered by 
a dome 143 ft. in diameter — the largest 




Fig 176.— Rome, Pal, di Vcnelia. Court. 

existing dome of masonry — liglited by a 
circular opening at its vertex nearly 30 ft. 
across, and preceded by a Corinthian por- 
tico 110 ft. by 4(5 ft. The main structure 
is of concrete bonded and faced with fine 
brick-work. The walls Avithout, now bare, 
are divided by two moulded string-courses : 
the lowest space was originally incrusted 
witli marble, the two al30ve with orna- 
mental work in stucco. The base of the 
dome is masked outside by a blocking- 
course above which six encircling steps 
lead up to tlie spherical surface. Under 
Urban YIII. (1023-44) Bernini added two 



KOME 



belfrys, oue eacli side of the portico. 
These, which were nicknamed Bernini's 
ears, have recently been taken down. 
The bnilding stood on a quadrangular 
platform, and five steps, four of which are 
now buried, led wp to the portico. This 
portico, though not well adapted to the 
great rotunda, is in itself the finest in 
Eome. It bears a high pediment, is octo- 
style and three intercolumniations deejD, 
but alternate pairs of interior columns are 
suppressed, making three aisles whose 
ceilings are vaulted in coffered barrel- 
vaults. (See 2Jlan, Fig. 177.) The original 
columns, of which three have been replaced, 
are monoliths of gray and pink Egyptian 
granite with capitals and bases of white 
marble, and are more than 40 ft. high. 
The proportions of the interior are ex- 
tremely simple. The whole height is 
equal to the whole diameter ; and the dome 
is a hemisphere of the same height as the 
wall below it, so that its surface, if ex- 
tended into a complete sphere, would ex- 
actly touch the floor. The massive walls, 
made more than 20 ft. thick to abut the 
thrust of the dome, are cut away inside 
into eight large niches, alternately rectan- 
gular and semicircular. A great Cor- 
inthian entablature encircles the interior 
at half the height of the wall, carried 
above the niches on pairs of fluted col- 
umns of Numidian marble flanked by pil- 
asters. Between the niches stand eight 
canopies against the wall, each consisting 
of a pediment borne on two smaller col- 
umns, in pairs alternately of giallo-antico 
and porphyry, standing on pedestals. 
Under these pediments, which are alter- 
nately triangular and curved, are modern 
altars. Over the main order is an attic, 
decorated with a small order of Corinthian 
pilasters with rectangular niches in the in- 
tervals, corresponding to the niches and 
canopies below. From this attic rises the 
dome, divided into deep coffers between 
twenty-eight meridional ribs and four hor- 
izontal, a broad smooth zone being left 



about the open eye. The effect of this in- 
terior is of unequalled simplicity, spacious- 
ness, and majesty, and the lighting is un- 
exampled. Perhaps the want of relation 
in the design of the dome to that of the 
wall, and a discordance in scale between 
its coffering and the details below it, are 
its only faults. Besides its columns of 
j)recious marbles, it was splendidly revet- 
ted and paved with marbles, and despite 
plundering carried on through centuries, 
much of its ancient decoration survives. 
The interior of the dome was once plated 
with bronze. The bronze-plated doors, 
simply but elegantly panelled, are the 
original doors of the temple. 

The Pantheon has always been as- 
sci'ibed to Marcus Agrippa, whose inscrip- 
tion still decorates the portico, and was 
presumed to be the great rotunda of his 
baths ; but in 1892 a careful architectural 
examination of it was conducted by the 
Italian Government, with unexpected re- 
sults. It is henceforth established that 
the existing rotunda and dome were con- 
structed by Hadrian, about 125 a.d., and 
remain essentially as he built them. The 
portico was perhaps later, between the time 
of Hadrian and that of Septimius Severus, 




Fig. 177. — Rome, Pairtheon. 
Scale of 100 feet. 



the inscription on the entablature being 
the original from Agrippa's Pantheon, 
transferred to its present position. The 



3T0 



ROME 



Pantheon of Agrippa, built in 27 B.C. and 
restored under Titus after the conflagra- 
tion of 80 A.D., was a circuhir structure 
of essentially the same disposition as the 
present rotunda, but with a conical roof 
of wood which was jirobably 
supported by an interior circu- 
lar range of columns. The 
pavement of Agrippa's build- 
ing was about G ft. beneath 
that of the existing monument. 
Originally dedicated to the 
chief gods of Rome, and es- 
pecially to those connected with 
tlie Julian family, the Panthe- 
on was consecrated as a church 
by Boniface IV., about G08, 
under permission of the Em- 
peror Phocas, in the name of 
Sta. Maria ad Martyres, but 
was soon known by the name 
it still bears — Sta. Maria dclla 
Rotonda. It contains the tomb 
of Rai^hael, wlio was buried here 
in 1520. (/SVe Figs. 177, 178.) 

Porta Maggiore, ancient Labicana, a 
monumental structure by which the aque- 
ducts of tlie Aqua Claudia and the Anio 
Novus are carried into the city over the 
roadway. It was first incorporated in the 
city walls by Aurelian, and still affords 
passage to the Via Labicana and the Via 
PrtBuestina. It is massively built of rus- 
ticated ashlar in travertine, and consists 
of two archways -40 ft. high, the piers sup- 
porting which are pierced by small arches 
between engaged columns (also rusticated 
and perhaps unfinislied), supporting en- 
tablatures and pediments. In the high 
attic pass, one over the other, the two 
■\vater-channels. The attic is divided into 
three bands M'hicli bear inscriptions, the 
first recording the construction by Clau- 
dius in 52 A.D., and the two others com- 
memorating restorations by Vespasian and 
Titus, in 71 and 81 a.d. 

Porta del Popolo. Tliis gateway, 
constructed out of the uuiterials of tlie an- 



cient Porta Flaminia, was built by Pius 
IV. in 1561, from the designs of Vignola. 
The Avail is of travertine, with a high 
round entrance arch springing from dec- 
orated imposts, and flanked by two de- 




Fig. 1 78. — Rome, Pantheon. 

tached Doric columns of red granite and 
breccia marble on pedestals, carrying an 
entablature with triglyphs, surmounted 
by a high and rather clumsy attic. Two 
statues occupy the intercolumniations on 
each side the arch. 

Porta San Lohexzo. the ancient Ti- 
burtine Gate, built of travertine. On the 
inner side of the gate the Arch of Augus- 
tus is seen above it, carrying over the open- 
ing the three conduits of the Aqua Julia, 
the Aqua Tepula, and tlie Aqua Marcia. 
An inscription sets forth tliat tlie aque- 
duct arch was restored by Vespasian and 
Severus. The arch is flanked by pilasters, 
and bears a bull's head on the keystone. 
On the exterior side, between two xv cent, 
towers, appear remains of a gate-structure 
of the time of Arcadius and Honorius, 
with an inscription. 

Portico of the Dii Consentes (the 
advising or counselling gods), the six 
chief male and six chief female deities of 



371 



EOME 



Eome, in the S. W. angle of the Forum 
Komanum. The portico was restored in 
367 A.D., by the prefect Vettius Agorius 
Prsetextatus, and tlie existing remains 
conform in style to that date. There are 
nine columns, five of them of travertine 
and unfluted, in part preserving their en- 
tablature, and a series of vaulted chambers 
which served as offices for the clerks and 
criers of the a^diles. 

The Portico of Octavia, with the 
temples it enclosed, constituted in anti- 
quity one of the most remarkable groups 
of buildings in the region of the Flamin- 
ian Circus. It was built by Augustus on 
the site of the portico of Metellus, which 
dated from 1-46 B.C. In plan it was a 
large rectangle surrounded on the inside by 
a colonnade, and having on one side a cen- 
tral pedimented porch or propylgeum. In 
the court stood temples to Juno and to 
Jupiter, earlier foundations rebuilt by 
Augustus. In connection with the j^ortico 
were a house (curia) for meetings of the 
senate, two libraries, and an establishment 
for notaries. This group of buildings was 
adorned with many of the most splendid 
Greek works of art, including statues by 
Phidias, by Cephisodotus, and by Lysip- 
pus. Great damage was done by a fire 
under Vespasian, and the buildings were 
restored under Severus, in 203 a.d. The 
entrance-porch survives still in large part ; 
it had originally a hesastyle Corinthian 
portico on each face, and the pediments 
were filled with sculpture. Eight col- 
umns of Parian marble, about 33 ft. high, 
are in situ, of which three belong to the 
outer colonnade and two to the innex*. 
Portions of the antte also remain, in con- 
crete faced with brick, and a number of 
monolithic Corinthian columns, of poor 
style and no doubt dating from the re- 
storation of Severus, of the portico proper. 
There are in addition some remains of the 
two enclosed temples. 

The Portico of the S.epta Julia, on 
the border of the Campus Martins, a cov- 



ered portico of great extent surrounding a 
large open space. It was projected by 
Julius C«sar and completed by Agrippa, 
as a voting-place for the Comitia Cen- 
turiata. It was divided by piers into 
aisles, and was richly adorned with statues 
and with incrustation of marble. It was 
sometimes used for speech-making and for 
athletic exhibitions, and in later times be- 
came a bazar. Eight ranges of piers of 
travertine, 3g ft. square, survive, five in 
the sacristy of Sta. Maria in Via Lata, 
and three beneath the Palazzo Doria. 

The Pi'RA^NiiD OF Caius Cestius, 
prsetor, tribune, and priest, a notable 
tomb dating from about the beginning of 
the empire, rises beside the semi-Eoman, 
semi-mediaeval, double-arched Porta San 
Paolo, and consists of a stee|) pyramid 98 
ft. square at the base and 122 ft. high. It 
stands on a foundation of travertine, and 
is formed of a core of concrete faced with 
good masonry of large marble blocks. The 
burial-chamber, built of brick, is about 
20 ft. long, 13 ft. wide, and 16 ft. high ; 
its barrel-vault is coated with fine stucco 
painted with excellent arabesques. The 
present entrance was broken through in 
the xvii cent., efforts to find the original 
entrance having been unsuccessful, but 
the burial-chamber was found empty. A 
colossal bronze statue originally stood be 
fore the pyramid ; one of its feet is in the 
Palace of the Consei'vators. 
' QuiRixAL. See Palazzo di Monte 
Cavallo. 

Eegia, the public office of the Pontif ex 
Maximus, an important ceremonial foun- 
dation, traditionally ascribed to ISTuma, 
including the council - room of the pon- 
tifices, and the record-office of the Fasti 
and similar public documents. It stood 
on the Forum Eomanum at the end of 
the Sacra A'ia. The plan was a trapezium 
measuring about 25 ft. by 65^ ft., divided 
into three rooms. At the west end parts 
are standing of walls of oj^us quadratum 
and concrete faced with ojnis reticidatiim. 



372 



EOME 



One j)artition-wall is built of solid blocks 
of Carrara (Luna) marble, a very rare 
metliod of construction in Rome. 

Rostra, the tribune or j^latform for 
orators in the Forum Romanum. It was 
originally placed before the Curia (the 
church of S. Adriano), and was removed 
to the position of the existing remains, 
toward the middle of the Forum, by Julius 
OaeSar in 44 B.C. This famous tribune 
had its name from the affixing to it, in .338 
B.C., of the bronze beaks from the sliijps 
captured at Antium. The excavations of 
1882 have made known the plan and de- 
tail of Caesar's structure, which consisted 
of a rectangular platform 80 ft. long and 
11 ft. high, with front and end walls of 
tufa. The floor was formed of slabs of 
travertine supported by two ranges of 
piers with lintels. The entire exterior 
was incrusted with marble slabs, and the 
top was crowned with a pierced parapet 
of marble. To the front wall were affixed 
the beaks of the ships, in two tiers, and on 
the platform were set up a number of 
statues. Behind the rostra, and concealed 
by it in its present position, are the re- 
mains of a very richly adorned platform 
of convex plan, called the Griecostasis. 

S. Adriaxo. See Curia. 

Sta. Agata alla Scburra, a small 
basilica with aisles and apse, but without 
transept, built as an Arian cliurch by the 
Gothic Ricimer, near 4G0. It was re-dedi- 
cated by Gregory the Great in 693, after 
long abandonment, and was thoroughly 
modernized in the xvii cent., but the old 
walls of nave and aisles remain, and their 
twelve columns of gray granite, with 
stuccoed Ionic capitals, bearing stilt- 
blocks and round arclies. In front of it is 
an atrium surrounded by loggias, which, if 
it is original, has at least quite lost its old 
aspect. 

Sta. Agxese. in the Piazza Navona. oc- 
cupies the site of an older church replaced 
about 1G50, i;nder Innocent X., from the 
designs of Girolamo Rainaldi. Its plan in- 



ternally is that of a Greek cross, with a cen- 
tral octagon about 55 ft. in diameter, Avith 
four great recesses opening by round arches 
from its four greater sides, and four semi- 
circular niches from the smaller sides. Of 
the square recesses, one forms the entrance 
vestibule opjDosite which is the choir with 
the high altar, the other two being chap- 
els with semicircular apses. The octagon 
is covered by a high dome on a drum 
pierced witli eight windows. The ma- 
terials of this interior are of great rich- 
ness, and the decoration is profuse and 
costly. The cliurch is enclosed by a great 
number of accessory apartments, and on 
one side is the small College of the Inno- 
cenziana, built a little later by Borromiui. 
The picturesqne exterior of the church, 
also by Borromiui, has in front a central 
portico of four Corinthian columns with 
pediment and high attic, and two advanced 
flanking towers joined to it by curving 
wings. Tiie towers terminate in open bel- 
fries surmounted by rather rococo spires. 
The central dome is elevated on a high 
tambour, surrounded by an order of 
coupled Corinthian pilasters, and crowned 
by an octagonal lantern. 

Sta. Agnese fuori le Mura is a small 
basilica some 60 ft. by 100 ft., without 
transept, dating from the time of Con- 
stantine, and comparatively little dis- 
guised by modern alterations ; and so, 
apart from its sanctity, is of great histori- 
cal interest. It stands about a mile and a 
quarter outside the Porta Pia, on the Via 
Nomentana, on sloping ground whose level 
has so risen about the front that its floor 
is reached by a long descending flight of 
marble steps. It has the peculiarity, rare 
in Rome, of a nun's gallery or upper 
story over the aisles, which crosses the 
front, and above which rises a clerestory. 
Eight pairs of round arclies divide the 
aisles, wliicli are only about 8 ft. in clear 
width, from tlie nave, which is 30 ft., and 
are supported by columns, Corinthian and 
Composite, taken from various older build- 



ROME 



ings. The lower aisle is groin-vault- 
ed, the upper, with an arcade resting on 
smaller columns, is also groined, and has 
Avindows across the front. The clere- 
story is of plaiii round-arched windows, 
and supjDorts a rich modern flat ceiling. 
The conch of the apse retains its original 
mosaic on a gold ground, with a figure 
of St. Agnes between Sts. Symmachus and 
Honorius, and below, its original clothing 
of marble. The remains of St. Agnes lie 
under the high altar, which is modern. A 
porch at the level of the road gives direct 
access to the iipper aisle built for the use 
of the nuns of the adjoining convent at 
the left of the apse, Avhich is flanked on 
the outer side by a campanile of which the 
lower part is nearly as old as the church. 
Constantine is said to have built the 
church in 32-i, at the request of his daugh- 
ter Constantia, over the tomb of St. Ag- 
nes. Constantia's own mausoleum, now 
known as the church of Sta. Constan- 
za {q. v.), stands near by. The church 
was restored by Symmachus at the begin- 




Fig. 179 Rome, Sta. Agnese fuon le Mura. 

ning of the vi cent., and a century later 
by Honorius. They doubtless followed 
the old plan ; but it is difficult to judge 
how much of the original work remains. 
Since then there is probably little change, 



except for the modern chapels that flank 
the aisles, the ceiling added by Cardinal 
Sfonderato, and the decoration restored 
by Pius IX., who also rebuilt the hall 
which opens from the court, replacing one 
tliat fell down with him during a solemn 
assembly in 1854. {See Fig. 179.) 

S. Agostino, a small xiii cent, conven- 
tual church, built for the monks of the 
order of St. Augustine, but enlarged in 
the XV cent, by Giacomo da Pietra Santa, 
and Sebastiano, a Florentine. In 1480 
and after, Baccio Pintelli executed the 
faQade and central dome. In the xvii 
cent, the church was again restored from 
the designs of Vanvitelli. The plan 
includes a nave and aisles about 125 ft. 
long, the nave in three vaulted bays, 
the aisles each in six, a transept, and 
deep apsidal choir with lateral chapels. 
The bays of the nave are marked by 
square piers faced with colored marbles 
and bearing an order of Corinthian pilas- 
ters. Each nave bay has two round 
arches divided by an intermediate pier, 
which determines the division 
of the aisles into square bays 
according to the arrangement 
of the original Gothic vault, 
which remains. Above the 
nave arches is a clerestory with 
an order of low Corinthian pi- 
lasters which take the ribs of 
the vaulting. From each aisle 
opens a series of semicircular 
niches or chapels, between 
whicli Corinthian pilasters take 
the ribs of the aisle vault. The 
transept arms have each two 
oblong groined bays, terminat- 
ing in a round apse. The hem- 
ispherical dome built by Pin- 
telli, and said to be the earliest 
example of a dome upon a drum sup- 
ported by pendentives, which was taken 
down in the last century, has been re- 
placed without the drum, and in 1855 was 
decorated with paintings of the twelve 



374 



EOME 



apostles by Gagliardi. The facade, of no 
great merit, has the fine detail that is char- 
acteristic of Pintelli. Upon a flat Avail the 
outline of the nave and aisles is marked by 
pediments, cornices, and sparse pilasters, 
the clerestory flanked by enormous scroll- 
buttresses. Tliere is a round window in the 
end of the nave, three doors, the central 
one rich and lofty, and scattered panelling. 

S. Alessio (St. Alexis), a Renaissance 
church, rebuilt in the xviii century. It is 
in plan a rectangle about 90 ft. wide and 150 
ft. long, preceded by a square atrium the 
full breadth of the church, with a vaulted 
arcade at each end. Tlie interior has a 
broad nave, barrel-vaulted, with an order 
of coupled Composite pilasters, between 
which arches oj^en into the square bays of 
the aisles. The transept, 32 ft. wide, 
does not project beyond the aisle walls. A 
semicircular tribune opens from its centre, 
and the crossing is covered by a dome. 
The choir, including the transept, is raised 
above tlie nave ; and beneath is the old 
crypt, divided by ten columns into two 
aisles. Tiie original church is said to 
have been built early in the iv cent., by 
St. Alexis, on the site of a temple in hon- 
or of St. Boniface, and the new one fol- 
lows its lines, preserving the atrium, the 
three aisles, the transept, and apse ; but 
the columns have disappeared and tlie old 
forms are entirely lost. It was consecrated 
anew by Honorius III. in 1217, when the 
bones of St. Boniface and of St. Alexis 
were discovered aiul deposited under tlie 
high altar. In 1T44-50 the churcli was 
substantially rebuilt by the monks of the 
adjacent monastery. An extensive con- 
vent is attached to the church on the left, 
of which the rooms are disposed about a 
square cloister some 70 ft. on each side, 
surrounded by vaulted arcades on columns 
and witli fine spacious gardens in the rear. 
The square brick campanile dates back 
from the xii or xiii century. 

S. Anastasio. See aS'aS'. Vincenzo cd 
Anastasio. 



S. AxDREA, a little chapel on the Via 
Flamiuia, near theVilladiS. Giulio (q.v.), 
a mile beyond the Porta del Popolo, built 
by Vignola for Julius III. before his acces- 
sion, in memory of his escape from danger 
during the sack of Eome by the troops of 
Charles V., in 1527. Its plan is a rect- 
angle 40 ft. by 32 ft. Its fa9ade is com- 
posed of an order of Corinthian pilasters, 
coupled at the angles, crowned by a pedi- 
ment, above which is an attic more than 
half as high as the order itself. Over this 
attic the high oval drum of tlie low dome 
is visible. The middle intercolumniation 
is occupied by a square door with a pedi- 
ment, the sides each by a window in a 
decorated niche. The interior is an un- 
divided hall with an order of Corinthian 
pilasters carrying the jiendentives of the 
oval dome. See also S. Gregorlo Magno. 

S. AxDREA DELLE Fratte (St. Andrew 
of the Hedges). This church was, in 
keeping with its name, thejiroperty of the 
Scotch Catholics up to the English Eefor- 
mation. A substantial rebuilding was be- 
gun in 1605, under the architect Gaspare 
Guerra. Its plan is a rectangle 68 ft. by * 
180 ft. Tlie nave, 42 ft. wide and 95 ft. 
long, is flanked by shallow rectangular 
chapels. The transept arms are only two 
broader chapels. The crossing is covered 
by a hemispherical dome, built from Bor- 
romiui's designs, as was also the rather 
extravagant bell-tower. The square choir 
ends in a semicircular tribune. The 
fagade of simple design, by Giusejipe Va- 
ladier, was added in 1820. On the right 
of the church is a fine cloister. 95 ft. 
square, enclosed by vaulted arcades, and 
surrounded by the buildings of a small 
convent. 

S. AxDREA DELLA Valle, a cruciform 
church begun 1591, from the designs of 
Pietro Paolo Olivieri, and finished under 
Carlo ]\Iaderno. Its plan forms a Latin 
cross, about 260 ft. in length and 140 ft. 
in breadth across the transept, with a tun- 
nel-vaulted nave 50 ft. wide and 130 ft. 



375 



ROME 



long, separated from the aisles by broad 
piers faced with triple pilasters, from 
which transverse arches are thrown across 
the nave. The aisles are divided into 
square chapels by transverse walls with a 
door of communication. The crossing is 
covered by a lofty dome painted by Lan- 
franc, on the pendentives of which are the 
four Evangelists by Domenichino. The 
rectangular choir is flanked by a domed 
chapel on each side, and terminates in a 
semicircular tribune. The fagade has an 
order of pilasters and engaged columns on 
high j^edestals, with broken pediments and 
some exaggeration of design, the work of 
Carlo Rainaldi. 

SS. Apostoli. This church was orig- 
inally a Christian basilica. It has been 
called Basilica Constantiniana, but was 
founded by Pelagius I. in 559, and enlarged 
by John III, It was rebuilt early in the 
XV cent., under Martin V. The apse was 
added half a century later, with the fa- 
cade, under Sixtus IV. , the last from the 
designs of Baccio Pintelli. In 1703 
the interior had become ruinous and was 
thoroughly rebuilt by Clement XI., the 
architect being Francesco Fontana. The 
plan, exclusive of the choir, is nearly 
square, the breadth being about 150 ft. 
and the length 160 ft. The scale of the 
interior is imposing. The nave, about 55 
ft. wide and barrel-vaulted, with lunettes, 
is separated from the aisles by three great 
arches springing from massive piers, faced 
on three sides by coupled pilasters. The 
aisles are in three nearly square bays, sep- 
arated by double transverse arches spring- 
ing from detached cohimns, and covered 
each by an oval dome. Each bay has a 
shallow chapel in the thickness of the side 
wall. The choir is very spacious, and is 
divided into a single square bay and a 
round apse. The faQade consists of a 
great double portico, standing obliquely to 
the front of the church, and composed of 
two unbroken ranges of round arches, 
nearly 15 ft. wide. Both arcades were 



originally open, but the upper one has 
been walled up, and the increased weight 
thus occasioned made it necessary to rein- 
force the piers below. Each arcade is 
surmounted by an entablature, of which 
the upper one bears a balustrade with 
statues of the apostles, and Christ in the 
middle. 

Sta. Balbina is a small church whose 
consecration by Gregory the Great (590- 
601:) is recorded. It is simply a plain 
nave, quite modernized, but retaining an 
open roof with some traces of its old orna- 
ment. It has flat pilasters on its Avails, a 
large round eastern apse, and rows of later 
cha]3els along the sides, with a tier of win- 
dows high up in the walls, like a clere- 
story. Across the front is a porch of three 
arcaded bays on pilasters, the side arches 
filled up. It is noticeable that no columns 
are seen in the building. It has been as- 
sumed that the church was built by St. 
Gregory, and Mothes has argued that it 
was originally built with aisles in place of 
the side-chapels and piers between ; but 
Hubscli and the latest authorities agree 
that it was one hall, like the so-called Bas- 
ilica at Trier, and was built in heathen 
times, perhaps as late as the iv century. 

Sta. Barbara. See S. Gregorio 
Magno. 

S. Baetolommeo all' Isola stands on 
the island of the Tiber, on a site occupied 
as early as the s cent, by the church of St. 
Adalbert, which had itself replaced an an- 
cient temple of Jupiter, or perhajDS of JEiS,- 
culapius. The present church was origi- 
nally built — according to an inscription 
over its central door — by Pascal II., in 1113, 
but was restored a few years later under 
Gelasius II., again in the same century by 
Alexander II., and finally, in the latter 
half of the xvi cent., by Gregory XIII., 
from the designs of Martino Lunghi. It 
is a rectangular basilica, and the interior, 
divided into a nave and aisles, is about 58 
ft. wide and 65 ft. long, separated by ar- 
cades borne on antique columns of granite 



370 



EOME 



and marble, with Composite capitals, pre- 
ceded by a two - story vaulted nartliex 
wliicli runs across the entire front, and 
opening into a transept about 30 ft. wide, 
raised by several steps above the nave and 
over the neglected crypt. Of the columns, 
that next the entrance on the left was 
imbedded in a pier for the support of the 
medieval bell-tower which shows its three 
ujoper stories of triple windows over the 
end of the aisle, behind the fayade. From 
the centre of the transept opens a semi- 
circular tribune, flanked on each side by a 
deep rectangular cliapel. From the alter- 
nate bays of each aisle open other rectan- 
gular chapels. The nave has a panelled 
wooden ceiling dating from 1624, and dec- 
orated witli gold and color. The fu9ade is 
in two stages, the centre brought forward 
slightly over a portico of four detached 
granite columns and covered with a low 
pediment. Tlie lowest stage has an order 
of Corinthian pilasters on pedestals, with 
three arches opening into the narthex, the 
other two filled by niches. The upper 
stage has square-headed windows on a pe- 
destal-course, M'ith pediments and horizon- 
tal caps. The church was founded by 
the Emperor Otto II. in 982 (or, as some 
have thought, by Otto III.), on the site 
of a temple of ^Esculapius, rebuilt accord- 
ing to an inscription by Pascal II. in 
1113, often altered and finally given its 
present form in the latter half of the xvi 
cent., by Martino Lunghi. The outlines of 
the original church remain, and also the 
columns and arcades. 

S. Basilio. See Temple of Marx lltor. 

S. Beun.vudo. See Tlienmc of Diode- 
tian. 

Sta. BiHiANA, an early basilica near 
the Porta S. Lorenzo, consecrated in 473, 
by Pope Simplicius, over the grave of the 
martyr, and according to tradition, on the 
site of a memorial chapel built by the 
matron saint Olynipia in 3(35. It has 
been much rebuilt at different times, and 
the aisles are covered by side chapels ; 



but the original eight antique columns 
and flat roof remain, as well as the one 
square bay of the choir. In 1624-30, 
it was remodelled by Bernini, who added 
the portico of three arches with an order 
of coupled Ionic pilasters. 

S. Carlo, an imposing Renaissance 
church in the Corso, was founded in 1612 
in honor of the canonization of S. Carlo 
Borromeo. It was begun under the archi- 
tect Onorio Lunglii and his son Martino, 
and finished by Pietro da Cortona. The 
plan is a rectangle about 140 ft. broad and 
190 ft. long. The nave has a breadth of 
about 45 ft., and is covered by a barrel- 
vault adorned with paintings, and pierced 
on each side by three lunettes with win- 
dows. The nave 2)iers are faced with 
coupled pilasters ; tlie aisles are divided 
into three square bays, each covered by a 
low dome ; from each bay opens a large 
square chapel. The transept has the 
same width as tlie nave, and the crossing 
is covered by an elliptical dome. The 
choir is square and terminates in a round 
apse ; the aisle is carried round it, divid- 
ed into bays, covered as in the main aisles 
by low domes. The church is connected 
with various accessory buildings on each 
side, among which is a hospital for Lom- 
bard patients. The clumsy facade added 
in 1U90 from the designs of Menicucci is 
of little interest. 

Sta. Caterina dei Fuxari (of the 
Rope-makers), a small church on the site 
of the Circus Flaminius, and of a subse- 
quent ropewalk from which it takes its 
name, is chiefly noteworthy for its fagade 
built in l.")63 by Giacomo della Porta. 
Tliis has a lower order of Corinthian ^^il- 
asters, with a central door under an en- 
gaged and pedimented porch, flanked by 
two pairs of niches. A band of sculpture 
connects tlie capitals below tlie archi- 
traves ; the whole is finely proportioned 
and of delicate detail. Tlie second story, 
narrowed to the width of the nave and 
flanked bv scroll-buttresses, has a similar 



377 



EOME 



order with like treatment, crowned by a 
pediment and enclosing a central rose- 
wiudow in a square decorated panel. The 
lower order and the main lines above are 
continued round the flanks with good 
effect. 

Sta. Cecilia, in tlie Trastevere, is an 
early basilica, built, according to tradition, 
by Urban I. about 225, but more probably 
two centuries later, and thought to oc- 
cupy the site of St. Cecilia's house. It 
was almost completely rebuilt in 831 by 
Paschal I., and two or three times after 
more or less transformed. It preserves 
the ancient atrium, preceded by an open 
portico with four detached columns, also 
the hexastyle portico of the church itself, 
adorned with early mosaics, and the nar- 
thex. The tribune, also mainly unaltered, 
contains the old bishop's chair and some 
original mosaics of the ix century. The 
main arcades of twenty columns were 
transformed in 1822, when the columns 
were encased in square piers, and the 
nuns' galleries which formed the second 
story of the aisles and narthex were dis- 
guised. The Gothic ciborium and high 
altar were made in 1283 by one Arnolfo, 
who has been held, though not without 
contradiction, to be Arnolfo di Cambio, 
the architect of the cathedral of Florence. 
In the confessio iTuder it Paschal I. de- 
posited the body of St. Cecilia, brought 
hither from the catacombs of St. Calixtus. 
The church belongs to a Benedictine con- 
vent, for whose use the original nuns' gal- 
leries were constructed. The square cam- 
panile was a later addition. The tomb of 
St. Cecilia has a fine recumbent figure by 
Stefano Maderno, copying the attitude in 
which her body was found when her tomb 
was opened in 1599. 

S. Clemente is one of the most inter- 
esting of the older basilicas. It was built, 
according to tradition, on the house of St. 
Clement, the third or fourth bishop of 
Rome, and is mentioned in history as early 
as the IV century. Gregory the Great, in 



the VI cent., annexed to it a Benedictine 
monastery, and made it a place for peni- 
tential processions ; and in 867 the body 
of St. Clement, martyred, it is believed, 
in the Crimea, was brought here by Cyril 
of Thessalonica, who is himself buried 
here. The choir was rebuilt or refurnish- 
ed in 872-82, by John VIII. In 1084 it 
was burned by the fire which, in the sack- 
ing by Robert Guiscard, wasted the city 
from the Colosseum to the Lateran, but 
it was rebuilt in time to be used at the 
election of Paschal II. in 1099. The 
atrium of the early church is preserved, 
though much altered by Carlo Fontana at 
the beginning of the xviii cent., and is 
entered by an old porch which resembles 
those of the Sta. Maria in Cosmedin, 
Sta. Prassede, and Sta. Saba — a single 
vaulted bay borne on four antique col- 
umns. The atrium is surrounded on all 
sides by open galleries, that in front of 
wide arches on heavy piers, those on the 
sides with light Ionic colonnades ; the 
fourth side, rebuilt by Fontana for Clem- 
ent XI. early in the xviii cent., is an ar- 
cade on Ionic columns carrying the fa- 
9ade of the church, in the style of its 
period, and serving as an open porch. 
The church consists of a nave some 35 ft. 
wide with unequal aisles and an apse, but 
no transept. Each side the apse is a later 
apsidal chapel, and a square chajiel is built 
in on either hand at the entrance, which 
is from the east. The main arcades con- 
sist each of two groups of five arches sep- 
arated by a wall-pier, and carried on an- 
tique Ionic columns, some fluted, some 
plain. The entablature over the arcades, 
which continues round the church, the 
elaborate panelling of the walls, and the 
richly coffered ceiling, are due to Fon- 
tana ; but the conch of the apse and the 
end wall of the nave retain their old 
mosaics, that of the apse of arabesques 
on a gold ground enclosing a crucifix, 
and dating from the xiii cent., those 
of the wall, on blue ground and prob- 



378 



ROME 



ably older, figures of saints and the sym- 
bols of the evangelists. The choir and 
its furniture are often quoted as showing 
the unaltered arrangement of the early 
churches. The floor of the apse and a 
sjDace in front of it, including 
the high altar, are raised above 
the nave for a presbytery, and 
the marble bench for the clergy, 
broken by the bishop's chair in 
the middle, lines the apse. A 
considerable simce in tlie middle 
of the nave is enclosed for a 
choir, with barriers or screens of 
marble, panelled, carved, and in- 
laid with mosaic. The two am- 
bones are incorporated with the 
screen — on the left an octagonal 
pulpit flanked by a marble col- 
umn, twisted and inlaid, to hold 
the pascal taper ; on the right a 
raised reading-desk with double 
lectern. Tlie ciborium over the 
altar is of an early type, a square struct- 
ure on four Corinthian columns, carry- 
ing an architrave that supports a gabled 
roof on colonnettes. It is noticeable 
that the pulpit and lectern are on oppo- 
site sides from those in the other early 
churches that still preserve them, and 
though the panels of the choir-screens 
bear apparently tlie monogram of John 
Mil., they are i)ut up with a carelessness 
which suggests removal and refitting. 
Excavations undertaken within a few 
years by the prior of the adjacent convent, 
now Irish Dominican, have unexpectedly 
shown that the church stands on the ruins 
of an older one (Avhich. it is inferred, is 
the one destroyed in 1084), and was prob- 
ably built entirely anew at the end of the 
XII century. The lower church was a ba- 
silica substantially like the upper ; but 
apparently with entablatures instead of 
arcades resting on its colonnades. Its 
ranges of columns are to be seen built up 
in the walls that sujiport the upper church, 
its original walls are covered M'ith manv 



paintings of the history and legends of the 
church, attributed to various dates, from 
the V cent, to the xii. The floor of the 
old church is some 20 ft. below that of the 
new, and beneath this are found two older 




Fig. 180.-R..me, S. Clemente. 

strata of walls ascribed to the imperial 
time and the republican. Under the apse 
and behind it are chambers, one of which 
is called the Oratory of St. Clement ; an- 
other, a larger vaulted room, is taken for 
a place of worshi]! of the Persian god Mi- 
thras, whose altar, found under the apse, 
has been moved to the narthex of the 
lower church. At the rebuilding the 
church was narrowed, so that while the 
left aisle and range of columns are over 
those below, the nave and the right 
aisle, -which is narrowed for the purpose, 
are included in the old nave, and the 
apses do not agree, the older being much 
larger. It is assumed that the new church 
was built directly on the accumulated 
ruins of the old, and that the screens and 
furniture of the choir were set up again 
as before, though somewhat carelessly ; 
yet it is difficult to see how they could 
survive the violent and total destruction of 
the lower church. The episcopal chair 
l)ears the name of Anastasius, who was 
titular cardinal of the church at the be- 



379 



EOME 



ginning of the xii century. {See Fig. 
180.) 

S. CosiMATO was originally a three- 
aisled basilica without transept, built for a 
convent of nuns under Gregory V. It was 
mainly rebuilt in 1475, under Calixtus II., 
with a fa9ade by Baccio Pintelli. 
The old atrium and the shell of 
the original church remain. The 
atrium is entered, as in Sta. Saba 
and S. Clemente, through a pro- 
jecting porch, which here is of 
curious form and penetrates the 
front wall, being half within and 
half without, and so is divided 
into two bays, one cross-vaulted 
and the other wagon - vaulted, 
while the corners stand on de- 
tached Corinthianesque col- 
umns. 

SS. CosiiA E Damiano. This 
small and ancient church, of 
which only the porch is seen 
from without, is a one -aisled 
basilica, with a nave 45 ft. by 
65 ft., of four bays of arcades 
carried on grouped pilasters, 
with a panelled attic above and 
a horizontal coffered ceiling. 
It took its present shape in 
1633, under Urban VIII., as an 
inscription tells lis, when the 
side aisles, " dejectis lateralibus 
parietibus," were replaced by 
rows of chapels. Of the original 
church by Felix IV., in 528, the old 
apse remains, somewhat too broad for the 
present nave, with its mosaics, as well as 
those about the great arch, more or less 
altered. The vestibule is a round build- 
ing which has puzzled archaeologists, biit is 
believed to be a temple dedicated first to 
Romulus, the son of Maxentius, and after- 
ward to his conqueror. Constantine, be- 
fore his conversion ; which, by a natural 
confusion of tradition, has been confounded 
with a temple of Eomulus and Eemus. 
Behind the church were discovered the 



marble slabs engraved with the plan of 
Eome at the end of the ii cent., which 
are preserved in the Capitoline Museum. 
When the churcli was restored in 1633, it 
was found necessary to raise the floor 
several feet to suit the accumulation of 




Fig. 181. — Rome, Sta. Costanza, 

the outside soil, so that there is now a 
basement or lower church in which are 
the tombs of Saints Cosma and Damianus, 
the two Arabic physicians martyred un- 
der Diocletian, to whom the church is ded- 
icated, and of St. Felix. {See Fig. 16Jf.) 
Sta. Costanza, the mausoleum, or 
baptistery, of St. Constance, is a round 
building of some 73 ft. interior diameter, 
close by the church of Sta. Agnese fuori le 
Mura, and a mile or so outside the Porta 
Pia, and dates from the time of Constan- 
tine. It has a central rotunda surrounded 



EOME 



by twelve radiating couples of Composite 
columns, carrying as many joieces of entab- 
lature witli round arclies upon tliem, and 
above these a circular drum pierced by 
twelve round-arched windows, and a hemi- 
spherical dome with brick ribs sunk in a 
concrete shell. It is a singular peculiarity 
that since the blocks of entablature make 
square piers, the pier-arches widen outward 
to suit the expanding wall of the drum, and 
their soffits are conical. Outside the ro- 
tunda is a circular aisle, whose annular 
vault is abutted by a very thick outer wall, 
and in this wall are twelve niches alternate- 
ly round and square. The four cardinal 
niches are larger than the rest ; that in front 
contains the entrance, leading from an ob- 
long vestibule, now dilapidated, which had 
an apse on each side, and an arcade of 
three arches in front. The niche at the 
back of the aisle contained the richly carved 
sarco^jhagus of porphyry which has been 
transferred to the Museum of the Vatican. 
In the lateral niches are two doors which 
open into a narrow surrounding area, once 
covered, it is believed, by a colonnade, and 
containing two stairways that lead down 
to a crypt. Ilie building was built, it is 
said, by Constantine, in 32G, serving first 
for the baptistery of his daughter Con- 
stantia (or Constantina), and of his sister 
of the same name, and afterward as their 
tomb. The vault of the aisle still sliows 
considerable portions of its original deco- 
ration in mosaic, with genii and animals, 
vines and grapes ; and other mosaics adorn 
the walls in places ; those that covered the 
dome were destroyed when it was restored 
at the end of the xvii cent., and modern 
paintings substituted for them, but a 
drawing of the original decoration is pre- 
served, we are told, in the Escurial in 
Spain. {See Fig. ISl.) 

S. Crisogono. in the Trastevere, a ba- 
silica as old as the v cent. . and mentioned 
in the record of the Council of Symma- 
chus, but like others much restored and 
altered. It has a ilat-ccilcd nave, 37 ft. 



wide and 140 ft. long, lined with eleven 
pairs of antique columns carrying an en- 
tablature, the original triumphal arch 
borne by two ancient columns of porphyry, 
a transept with apsidal choir, and t\vo 
square side-chapels. Other chapels ad- 
join the left aisle. The whole transept 
and choir are considerably raised, as if 
to permit an unusually large confessio or 
crypt. In this, as in several other points, 
it resembles the neighboring church of 
Sta. Maria in Trastevere. The transept 
is probably an addition of the vili cent., 
and the vaulting of the aisles of the 
XII. Over the altar is a rich modern bal- 
dacchino of alabaster. The fajade, the 
work of Soria, in 1G23, consists of a por- 
tico in one story, witii four Tuscan col- 
umns between pilasters enclosing arches, 
and an order of Ionic pilasters and pedi- 
ment above. The mediaeval campanile 
against the north aisle, in five stories sep- 
arated by cornices, is modernized. 

Sta. Ckoce ijf Geiu'Salemme, or the 
Sessorian Basilica, so-called because it was 
built on the Sessorian palace, has been a 
puzzle to archaeologists. At present, 
after a complete overhauling by Grego- 
rini, in 1TT4, it has a high rather narrow- 
nave covered by a barrel -vault pierced 
with lunettes, and aisles which are groin- 
vaulted. Nave, aisles, and transej^t are all 
under a single low gabled roof, the galler- 
ies which once a2)peared over the aisles 
being closed up. Originally the nave and 
aisles were separated by six antique col- 
umns on each side carrying arches, but 
these columns are now subordinated by 
filling alternate openings with piers, faced 
with the pilasters of a great Corinthian 
order, and the intervening arches are dis- 
guised by inserting lintels which carry 
panels of sculpture. The tribune of the 
choir is much wider than the nave, and 
occupies almost the whole east side of the 
transept, leaving room only for a narrow 
passage on each side. That on the right 
loads down by a stairway to the subterra- 



ssi 



ROME 



nean cliapel behind the apse, built by Hel- 
ena, the mother of Constantine, to receive 
the fragments of the true cross which she 
brought from Jerusalem, whence the 
church is named. It has a domed ceiling 
adorned with mosaics which are ascribed 
to Peruzzi, as are the frescoes of the apse, 
by some credited to Pintnrricliio. That 
on the left communicates with a corre- 
sponding but much later vaulted chapel. 
The old colonnaded porch was destroyed 
when the nave was remodelled, to make 
room for a great oval narthex by Grego- 
rini, a rotunda divided from a surround- 
ing aisle by piers of grouped pilasters, to 
which is prefixed a rococo faQade. The 
mediaeval campanile still stands beside it. 
The church dates from about 330, though 
its older existing |)arts doubtless mostly 
belong to 720, when it was restored by 
Gregory II. from great dilapidation. It 
was further modified in the middle of the 
XII cent, and of the xv, before it was fi- 
nally transformed. A trace of the monas- 
tic (Cistercian) rule under which it passed, 
still lingers in the order that women shall 
not enter the chapel of St. Helena except 
on the anniversary of its dedication. 

S. EusEBio. Tliis conventual church, 
a rectangle of about 68 ft. by 110 ft., 
stands at the end of a long enclosure, 
across which extends its vaulted portico of 
five round arches on massive piers, with a 
single doorway in the centre of the nave. 
The nave is in five oblong bays, barrel- 
vaulted, divided by transverse arches, and 
separated from the aisles by arcades of 
which the piers are faced with pilasters. 
The aisle bays are square and covered by 
low domes. The transept, which does not 
project beyond the aisle walls, is divided 
into three bays, from the central one of 
which opens a square choir with carved 
walnut stalls on three sides. The ceiling 
of the nave is painted by Raphael jMengs. 
The original church, probably a basilica, 
is believed to have existed in the time of 
Gregory the Great ; it was restored by 



Pope Zacharias, and again by Gregory IX., 
who, in 1238, dedicated it to St. Eusebius 
and St. Vincent. In 1711 it underwent 
a third restoration by the monks, under 
the architect Carlo Stefano Fontana, and 
was finally remodelled, in 1750, by Nic- 
colo Piccione, when the ancient columns 
of the nave were replaced, or perhaps en- 
closed, by massive piers. An extensive 
convent is attached to the church on the 
right, with an oblong court of peculiar 
plan, composed of a central square with 
two stories of open arcades on two sides, 
and a narrower retreating bay at each end ; 
the Doric and Ionic orders of pilasters 
carried round the whole. 

Sta. Fhancesca Romak"a, an old 
church built in the middle of the ix cent, 
by Popes Leo IV. and Nicholas I., and 
still retaining the old walls and the orig- 
inal apse, Avliich is remarkable for some 
early mosaics, of uncertain date bvit as- 
cribed by some to Nicholas himself. It 
has been much transformed, chiefly in 
1620 by Carlo Lombardi, who added the 
fa9ade. The aisles have been divided into 
chapels, and the nave covered with a rich 
coffered ceiling. The modern front gives 
an open porch of three arches, an order of 
Corinthian pilasters against the nave with 
pediment and pedestals, a lower Doric or- 
der against the aisles, and scroll buttresses 
over them. Under the raised choir is a 
crypt containing the body of the saint. 
The church is built on the foundations of 
the Temple of Venus and Rome. Against 
its north side stands a well-preserved bell- 
tower, perhaps of the xi cent., with five 
arcaded stories — in the three upper ones 
pairs of coupled arches on mid-wall shafts. 

S. Giorgio iisr Velabeo, a basilica of 
very primitive style, called the Sempro- 
nian basilica because it is thought to stand 
on the site of a palace, or perhaps a basil- 
ica, built by the Sempronii. It was ap- 
parently built under Pelagius II., near the 
end of the vi cent., but had to be rebuilt a 
hundred years later. It is only about 100 



382 



ROME 



rest on 



ft. long, fronting the south ; its nave and 
aisles, cramped by the site, contract 
toward the choir. Its arcades 
sixteen rather irregular antique 
columns, Ionic and Corinthian, 
one bay being cut out from the 
west aisle by the square cam]3a- 
nile at the 8. W. corner. Above 
the round-arched clerestory is a 
simple wooden ceiling, and the 
interior is plain and bare, except 
the clioir. This, occupying the 
last bay of the nave and the apse, 
is raised half a dozen steps, to 
give room for the confessio be- 
neath, which holds the relics of 
St. George. The apse is lined 
with marble and has a bench for 
the clergy M-ith the l)ishoi5's chair 
in tlie middle, a wainscoting, and 
over it an order of pilasters. Its 
semi-dome is painted with colos- 
sal figures of Clirist, St. George, 
and other saints, apparently cov- 
ering pictures which Giotto is 
known to have painted here. 
Over the altar is a characteristic 
and well-preserved early cibori- 
um, a four-square canoiiy of Co- 
rinthian columns, carrying a 
kind of octagonal lantern sup- 
l^orted by colonnettes. The al- 
tar below, and the face of the 
confessio beneath it, which is displayed 
by a gap in the steps, are ornamented 
with mosaics. Tlie front has a richly 
carved architrave about the front door, 
evidently built of Roman fragments, and 
is crossed by an open porch with four 
Ionic columns i>i aiifis and an ental)la- 
ture built up of brick and marble, and 
made disproportionately high by brick 
relieving arches which are let into the 
frieze. The inscri^Jtion on the porch in- 
dicates that it is an imitation of classic 
forms built in the xii century. The tower, 
one of the earliest in Rome, dates from the 
rebuilding at the end of the vii centurv. 



It has four arcaded stories above the roof, 
divided by modillioned cornices, the up- 
per arcade carried on mid-wall shafts. 




Fig. 182. — Rome, S. Giorgio in Velabio and Arcus Argentarius. 



Against the tower, and partially swal- 
lowed x;p by it, is the Arcus Argentarius 
(q. v.), or Arch of the Silversmiths, some- 
times called Arch of the Goldsmitlis. 
There are indications that the church, 
like Sta. Maria in Cosmediu. belonged to 
a colony of Greeks ; and Pope Zacharias, 
liimself a Greek, in 745 deposited here 
the head, the helmet, and the spear of its 
patron, St. George, who is much honored 
in the Greek church. {See Fig. 182.) 

S. GiovAXXi Decollato (St. John the 
Beheaded). This little church was built 
by the Florentine Brotherhood of the 
Misericordia, Avhich was founded about 



ROME 



1450 for the purpose of assisting aud com- 
forting prisoners • condemned to deatli. 
The church is a rectangle 35 ft. by 90 ft., 
witli a single nave with broad flat pilasters 
dividing the walls and carrying a light en- 
tablature. In the intervals are shallow 
arched recesses, above which in the three 
middle intervals are round-arched win- 
dows flanked by panels. The choir is 
separated from the nave by a transverse 
wall and round arch, the altar being in a 
square vaulted recess at the back. The 
whole church has a flat panelled ceiling 
which, as well as the pilasters and wall-sur- 
faces, is elaborately decorated. The fayade 
consists only of an order of four Doric pi- 
lasters with low pediment, with a square 
door flanked by two niches between the 
middle columns. Attached to the left flank 
of the church is a fine cloister 54 ft. square, 
surrounded on three sides by vaulted ar- 
cades with Doric columns, giving access 
on two sides to various subordinate apart- 
ments. The enclosure was the burial jilace 
of the condemned. 

S. GiovAJfNi de' FiOKENTiosri, a Renais- 
sance church which, exclusive of the choir 
and its chaj)els, is a rectangle measuring 
about 117 ft. broad and 150 ft. long, with 
a tunnel-vaulted nave 35 ft. wide and 
nearly 100 ft. long, and aisles divided by 
transverse arches into five square bays, 
from each of which opens a square chapel, 
two of them used as vestibules. The tran- 
sept is as wide as the nave, with square 
ends ; the crossing is covered by a high 
dome on a tambour. The choir is square 
with flat niches on three sides, and is 
flanked on each side by a square chapel. 
It was founded in the second half of the 
XY cent, by an association of Florentines 
whose duty it had been, during the plague 
of 1448, to attend to the burial of the 
poorer victims of the disease, and who 
afterward determined to build a national 
church in commemoration of that service. 
A competition was set on foot, in which 
Michael Angelo, Peruzzi, Raphael, San- 



gallo and Sansovino were among the con- 
testants. The work was given to San- 
sovino, but was suspended on account of 
difficulties in construction resulting in 
failures ; and the control passed about 
1530 into the hands of Sangallo, and later 
into those of Giacomo della Porta and 
Carlo Maderno. The faQade, added in 
1734 by Alessandro Galilei, has an order 
of three-quarter columns coupled, with 
three doorways in the intervals, and the 
dome, which is circular in plan inside is 
octagonal outside. 

S. GiovAXK^i IX FoxTE, the baptistery 
of the Lateran, commonly known as the 
Baptistery of Constantine, stands detached 
to the rear of tlie church and connected 
with it and the adjacent monastery by a 
large enclosed court. In plan it is an oc- 
tagon of 28 ft. diameter, covered by a 
dome and surrounded by an octagonal 
aisle, the whole diameter being about 68 
ft. The central octagon is supported by 
eight ancient shafts of red porphyry with 
Ionic, Corinthian, and Composite capitals 
carr)'ing an architrave, above which is a 
second range of columns of white marble 
and a heavy entablature reaching to the 
flat, panelled, and decorated ceiling of the 
surrounding aisle, and bearing the drum 
of the octagonal dome, which appears ex- 
ternally above the roof of the surrounding 
aisle only as a low octagonal wall pierced 
by small round windows and covered by a 
low roof. The central space is enclosed 
by a balustrade, within which is the an- 
cient basin, sunk three steps below the 
pavement ; in the middle stands the vene- 
rated font of green basalt. The wall of 
the aisle has on four of its sides great 
square panels filled with pictures repre- 
senting the exploits of Constantine, above 
which are four square windows with taste- 
less decoration. The building is ap- 
proached by a vestibule with two apsidal 
chapels on its sides. From two opposite 
sides of the surrounding aisle open chap- 
els dating from the v cent., dedicated to 



384 



& 



PISA -GENERAL VIEW 





_ .urentinb>- 

oeii, cuiringtlie plague 

. acteiid to the burial of the 

..^.^ victims of the disease, and who 

afterward determined to build a national 

church in commemoration of that service. 

A comj)etition was set on foot, in which 

Michael Angelo, Peruzzi, Kaphael, San- 



sentiu^ 
which are ^ 

less decoration. The bL_ 
proached by a vestibule with i» . 
chapels on its sides. From two oppu. 
sides of the surrounding aisle open chap- 
the V cent., dedicated to 



els dating from 



384 



ROME 



John the Baptist andJohn the Evangelist ; 
and from a third side opens the oratory 
of S. Venanzio, a square apartment with 
a semicircular apse. The exterior is quite 
simple, the only decorative feature being 
an entrance portico of two an- 
tique Corinthian columns be- 
tween pilasters attached to the 
vestibule. The baj^tistery was 
built by Sylvester at the order 
of Constantine, who, however, 
notwithstanding the popular 
tradition, was not bajitized 
here, but in Nicomedia. Syl- 
vester lined the basin with sil- 
ver, surrounding it with the 
eight porpliyry columns which 
carried a golden, or gilded, cu- 
pola, says Anastasius. A cen- 
tury later Sixtus III. enlarged 
it, and Ililarius added the 
chapels of the Baptist and the 
Evangelist. In the middle of 
the VII cent. John IV. built 
the chapel of S. W'nanzio. Modern res- 
torations have not greatly changed the 
structure of the building. {See Fkj. IS-J.) 
S. Giovanni in Laterano, the Mother 
of Churches, fronts eastward and is faced 
with a nartliex or })ortico extending quite 
across the front, and about 30 ft. deep, 
Avith five open arches toward the square, 
and five doorways entering the five aisles 
of the interior ; it has a nave nearly (50 
ft. wide and 250 ft. long, fianked by two 
aisles on each side, the whole interior 
breadtli being about 170 ft. ; a transept 
50 ft. wide crossing the whole, and raised 
four steps above the nave, with a round 
apse opening from its centre, surrounded 
by a polygonal vaulted ambulatory of the 
width of the inner aisles. The rows of 
columns and arches in tlie original basilica 
were replaced or encased under BoiTomini 
by the great piers, of which those next the 
nave are 2(1 ft. broad, rising through the 
entire height of the nave, and faced each 
with two great Corinthian pilasters carry- 



ing an entablature ; between these pilasters 
is a broad niche of extravagant design en- 
closing a colossal statue. Over the niches 
are square panels filled Avith bas-reliefs, 
and above these again great painted medal- 




Fig. 183.— Rome, S. Giovanni in Fonte (Baptistery of Constantine). 



lions. Between the piers are round arches 
with a span of about 20 ft., and half as 
high as tiie nave, over which are the square 
windows of the clerestory, enclosed within 
pilasters carrying broken pediments. Tlie 
nave is covered with a fiat ceiling deeply 
panelled and profusely decorated. The 
two rows of vaulted aisles on each side 
the nave are separated by square piers 
bearing longitudinal lintels and transverse 
arches, the latter of which divide the 
aisles into eleven bays each, corresponding 
to the arches and piers of the nave. The 
bays of the inner aisles are covered by low 
domes. The great triumphal arch of the 
basilica is retained, and springs from two 
Corinthian columns set against the nave 
piers, and carrying blocks of entablature. 
The transept ends are square, and in that 
on the right hand are three doorways 
opening from a vaulted portico of five 
arches which forms the lateral entrance 
from tlie piazza. The tribune, which with 
- its surrounding aisle is the onlj- portion 

3S5 



KOME 



of the church that retains something of 
its earlier character, is a great semicircle 
of which the diameter is equal to the 
breadth of the nave, and covered with 
a semi - dome decorated with mosaics 
of the XIII century. The surrounding 
Gothic double aisle, of the same width as 
the inner aisles of the nave, and subdi- 
vided by a line of shafts into two concen- 
tric lines of groined bays, has just been 
restored away. On the left of the aisle 
an oblong chapel opens from the transept, 
used for the services of the church in 
winter. The high altar is nearly under 
the triumphal arch, and is covered by a 
high Gothic ciborium in two stoz'ies, a 
work of the xiv cent., the lower story 
with squai'e openings, the upper with four 
round foliated arches with gables flanked 
by pinnacles and covered by a pyramidal 
spire. Several private chapels, built and 
maintained by as many great Koman fami- 
lies, open from the outer aisles, among 
which the most remarkable is the Oorsini 




Fig. 184. — Rome, S. Giovanni in Later, 



chapel, built in 1729 by Pope Clement XII. 
from the designs of Alessandro Galilei. 
Its plan is a Greek cross, its arms covered 
by barrel-vaults, its centre by a high hemi- 



spherical dome with drum and lantern, 
and the whole interior of almost unex- 
ampled richness of material and decora- 
tion. This chapel has on the flank of the 
church a lofty three-story fapade with an 
entrance doorway approached by a high 
flight of steps. The fa9ade of the right 
transept, after successive changes, was 
brought to its present form about 1585, 
under Sixtus V., by Domenico Fontana. It 
consists of two stories of open arcades, the 
arches, five in each story, occupying the 
intervals of an order of pilasters, Doric 
below and Corinthian above, coupled at 
the angles, and the entablatures sur- 
mounted by balustrades. Above and be- 
hind the arcades, over the wall of the 
transept, appear two older square angle- 
towers joined by a blank wall with a hori- 
zontal cornice. The latest portion of the 
church is the great fa9ade of the nave and 
aisles, an imposing structure covering the 
narthex and having little or no architect- 
ural relation to the church behind it. 
It was the result of a 
competition set on foot 
by Clement XII. Of 
twenty -one designs 
sent in, that of Ales- 
sandro Galilei was ac- 
cepted and carried out. 
It is a rectangular 
building with a front- 
age of about 205 ft. 
and a depth of 44 ft., 
composed of a single 
great order of Corin- 
thian pilasters on high 
pedestals covering two 
stories, with a high bal- 
ustrade above the cor- 
nice, and colossal stat- 
ues of popes crowning 
the pedestals. The 
centre is brought forward on coupled three- 
quarter columns and crowned with a pedi- 
ment. Behind the pilasters are the two 
stories of open arcades defined by sub-or- 



386 



EOME 



clers of Corinthian pilasters, that of the 
first story having an entablature running 
between the great pilasters, that of tlie 
second story having round 
arches. The comi^osition is 
simple and on a grand scale, 
and is extremely imposing. Its 
effect is heightened by a great 
platform surrounding the 
building, in two levels, Avith 
two ranges of stcjis encircling 
it. South of tlic transept is a 
cloister which is one of the 
most interesting in Italy. It 
is in the style of the Cosmati, 
closely resembling that of 8. 
Paolo fuori, and must date 
from near l^-IO. The court is 
about 80 ft. square, and sur- 
rounded by a graceful arcade 
of small round arclies spring- 
ing from coupled columns of varied de- 
sign, the shafts plain, sjural, twisted, 
octagonal, many with an inlay of deli- 
cate mosaic, the ca])itals of a compos- 
ite design greatly varied, and with abaci 
joining the two capitals of each pair. 
The columns stand on a stylobate, and 
over the arcade, whicli is divided into 
bays of five arches each, separated by 
broad flat pilasters, runs a heavy entab- 
lature, of which the architrave and frieze 
are enriched with mosaics and the cornice 
with sculpture. The galleries are divided 
into square bays which are covered witli 
groined vaults, springing from Ionic col- 
umns witliout bases set inside tlie arcade, 
and from responding pilasters on the wall 
at the back. The cloister is the court of 
the monastery attached to tlie church, 
which was founded by Benedictine monks. 
The Latei'an church and palace take 
their name from the Koman family of the 
Laterani, whose palace the present build- 
ings replace. Constantine gave the palace 
to Sylvester, then bishop of Rome, M'ho, 
as early as 314, began there a basilica 
which he dedicated to the Saviour in 3:2 -4. 



The church is the most venerable in 
Rome, possibly the oldest, in spite of the 
claim of Sta. Pudentiana. Until the 




Fig. 185. — Rome, S. Giovanni in Laterano. 

popes were driven to Avignon, in the be- 
ginning of the XIV cent., the Lateran was 
their residence and its church their pri- 
vate chapel : when they returned to Rome, 
in 1377, the A'aticaii became their resi- 
dence and St. Peter's their chapel ; but 
the Lateran church still retains its pri- 
macy as the Mother and Head of Churches. 
It was not until the middle of the xil 
cent., however, that it was dedicated to 
St. John the Baptist and St. John the 
Evangelist, and later still that it assumed 
the title that is inscribed upon it, " Sa- 
crosanta Lateranensis Ecclesia, omnium 
urbis et orbis ecclesiarum mater et 
caput." It is impossible to make out 
clearly the history of its vicissitudes, 
alterations, despoilings, and rebuildings. 
Sergius III. [903-11] rebuilt it in what 
perhaps is the oldest form no\v to be traced 
in it. It was a five-aisled basilica, the 
nave bordered with arcades of fifteen great 
columns on each side, mostly antique, the 
aisle arcades carried on smaller columns 
supported by pedestals. The transept and 
apse followed the present lines, but Avith- 
out tlie apsidal aisle ; the flat gilded ceil- 



3S7 



ROME 



ing, already once or twice renewed, had 
given it the name of Basilica Aurea. The 
triumphal arch still remains. It had an 
open portico in front, making part of an 
atrium which has disappeared, and a 
fa5ade adorned with mosaics. In 1289 
Nicholas IV. huilt the douhle-vanlted aisle 
with pointed windows about the apse, as 
we now see it, which borrows the name 
of the Leonine Portico from some older 
structure not identified. It was twice 
burned out in the xiv cent., and the 
popes on their return to Eome found 
the palace in ruins. Gregory XI. restored 
the church ; Pius IV. built the two small 
bell-towers which still mark the front of 
the transept, and the fa9ade below them, 
which is now hidden behind the two- 
storied loggia that Fontana built against 
it for Sixtus V. The interior was entirely 
rebuilt in its present form in 1644-50 for 
Innocent X., by Borromini, who, it would 
seem, suppressed every third column in 
the arcades and walled i\]i the resulting 
couples into the enormous piers which we 
now see, and changed the fenestration. 
Finally, in 1735, Alessandro G-alilei added 
the superb double portico which makes 
the principal fa9ade. {See Figs. 184, 1^5. ) 
See also Lateran Palace and S. Giovanni 
in Fonte. 

Note. The cloister was built by the 
most talented Eoman artist of his day, 
Vassallectus, and his father, and its exact 
date has only recently been ascertained to 
be 1237. It is the prototype of that beau- 
tiful type of cloister with elaborate deco- 
ration in stucco and mosaic work, and 
with double twisted colonnettes sustaining 
panelled round arches, which was even 
then termed the Roman style. [A. L. F., 
Jr.] 

SS. GiovANJfi E Paolo. This very old 
church, attached to a Passionist convent, 
stands on the brow of the Coelian Hill. 
It is a three-aisled basilica without tran- 
sept, the nave ending in an apse. It has 
a vestibule across the front, showing eight 



antique columns, and it is one of the few 
churches in Rome that have a gallery in a 
second story across the front of the nave, 
over a narthex. The interior was entire- 
ly modernized in 1726, but still shows 
against its grouped pilasters the sixteen 
granite columns with composite caps that 
bore its original arcades, and the apse re- 
tains outside its Lombard arcaded eaves- 
gallery, the only one in Rome. The 
church Avas founded by Pammachus before 
400, it is said, and was restored by Sym- 
machus at the end of the v century. It 
was rebuilt under Adrian IV. (1154-59), 
when the vestibule and probably the ar- 
caded apse were built. The detached bell- 
tower is mentioned as early as the vii cen- 
tury. It has, in its present form at least, 
three stories of quadruple windows. 

S. Giovanni in Porta Latina is a 
small basilica of the viii cent., close by the 
old gate from which it is named. The 
open porch across its front had an arcade 
of seven arches, four of which are walled 
up, resting on irregular Corinthian col- 
umns. It has a nave and aisles, with- 
out a transe2)t, with an apse of Byzantine 
form, unusual in Rome, three-sided with- 
out and round within, which is extended 
into a choir by walling oii the ends of the 
transept. The nave, 25 ft. by 75 ft., has 
round arcades of six bays on ten various 
antique Corinthian columns. The church 
was built, or rebuilt, by Adrian I. (772- 
795), but the interior has been modern- 
ized by various restorations, mainly under 
Cardinal Rasponi in 1686. The lower 
part of the fine mediteval bell-tower prob- 
ably dates from Adrian. 

S. Giuseppe de' Falignami. See 
Mamertine Prisons. 

S. Gbegorio de' Camaldolensi. See 
8. Gregorio Magno. 

S. Gregorio Magno. Of the church 
built originally by Gregory 11. , in the 
VIII cent., on the site of the country- 
house of Gregory the Great, and of the 
monastery which he founded on the slope 



388 



EOME 



of tlie CcBlian, little remains. The atrium 
was rebuilt and its fagade added in 1633 
by Cardinal Borgliese, from the designs of 
Giovanni Battista Soria, and finally in the 
XVIII cent., under Clement XI., the whole 
church was entirely remodelled by the 
monks. The works were finished in 1734, 
by the architect Francesco Ferrari. The 
church occupies a commanding 2:)Osition on 
the hillside, and is a|)proached by a triple 
range of stejis of the full breadtli of the 
front, enclosed between high garden walls. 
The fa9ade of the atrium is in two stages, 
each with an order of coupled pilasters, 
Ionic below and Corinthian above, the 
upper order raised on a balustrade-course 
and covered with a pediment. The lower 
story is an open arcade ; in the second are 
three square windows with pedimented 
caps. The atrium, 3G ft. by GO ft., is sur- 
rounded by vaulted arcades, from the far- 
ther of wliicli tliree doorways enter the 
church, which is 72 ft. wide and 112 ft. 
long, tlie nave separated from the aisles by 
massive piers faced with an order of pilas- 
ters, and flanked by the columns of a sub- 
order, whose shafts of Egyptian granite 
perhaps carried the arcades of the origi- 
nal church. The aisles are divided by 
transverse arches into four square bays, 
each covered by a low dome. The nave 
terminates in a stpiaro-eudcil clioir ; the 
aisles have ai)sidal terminations, occupied 
as chapels. Adjacent to the church is an 
enclosure ending in three sides of an octa- 
gon, fi'om which radiate three small 
chapels connected in a group by an open 
portico of four Corinthian columns, whicli 
crosses the front of tlie middle one. 
Dedicated to S. Andrea, Sta. Barbara, 
and Sta. Silvia, they were built originally 
by Gregory I., but since rebuilt. Tlie 
lateral ones have round apses, the middle 
one a square end. Their architecture is 
very simple, but two are lavishly painted 
within, the middle one, St. Andrew's, 
with the noted frescoes painted in rivalry 
by Guido and Domenichiiio. The main 



church is popularly kno'mi as S. Gregorio 
dei Camaldolensi, from the Camaldolese 
monks into whose possession it passed in 
the XVI century. 

S. Igxazio forms an important portion 
of the extensive buildings of the Collegio 
Eomano {q. v.), although the church Avas 
finished a century later than the remain- 
ing portions. Its corner-stone was laid 
by Cardinal Ludovisi in 1626, but it was 
only completed in 1685. The design was 
adapted by Father Grassi from two designs 
of Domenico Zampieri (Domenichino), 
the j)ainter. The plan is a Latin cross 
about 150 ft. by 250 ft. The rather heavy 
facade added by Alessundro Algardi has 
two sui)erposed Corinthian orders of col- 
umns and pilasters, with scroll-buttresses 
over the aisles, and doors and windows sur- 
mounted by pediments. The nave, about 
58 ft. wide and 130 ft. long, is covered 
by a barrel-vault and divided into three 
oblong bays by double transverse arches 
springing from massive piers, faced with 
coupled Corinthian columns which carry 
an entablature above the great nave arches 
which spring from the detached columns 
of a sub-order. The aisle bays are square, 
forming distinct chapels, each covered by 
a round dome. The transept, as broad as 
the nave, does not project beyond the 
aisle walls. Instead of the exterior dome 
which was intended, the observatory of the 
Jesuit Fathers covers the crossing, which, 
hoAvever, feigns within a dome elaborate- 
ly painted with architectural comjjositions 
by Andrea Pozzi, one of the fathers, who 
also covered the vault of the nave with 
a wild and illusive architectural comi)o- 
sition. The choir is a single rectangu- 
lar bay with a fine semicircular tribune, 
fianked by two chaj^els similar to those of 
the aisles. The church is very rich in 
marbles and bronzes, and in color decora- 
tion. 

S. Ivo. See La Sajjienza. 

St. Johx Laterax. See S. Giovanni 
in Later ano. 



SS9 



ROME 



S. Lorenzo in Damaso, which oc- 
cupies the site and probably tlie founda- 
tions of the original basilica of Pope Da- 
masus I. (366-84), was entirely rebuilt 
with the palace of the Cancelleria {q. v.), 
and is concealed behind its fa9ades. The 
design is simple and admirably treated — 
a nave, 50 ft. by 80 ft., preceded by a deep 
narthex, surrounded on three sides by a 
vaulted aisle, and ending in a choir of one 
straight bay and an apse. The arcades of 
the aisle, in five bays lengthwise and four 
across, are carried on pilasters with pedes- 
tals. A straight entablature above the 
arches bears a panelled attic, and this 
originally carried a barrel -vault broken 
by a central dome. These have been re- 
placed by a clerestory of round-headed win- 
dows on the south, balanced by painted 
panels on the north, above which is a 
flat coffered ceiling. The apse of tlie 
choir is lighted by a semicircular eye, 
and adorned Avith balconied loggie like 
proscenium boxes. 

S. Lorenzo euori le mura (St. Law- 
rence outside the Avails). This early and 
venerable church, one of the five great 
patriarchal basilicas, so called, is a com- 
posite of two churches of different dates, 
the older serving now as the presbytery, 
or choir, and the later as the nave ; the 
whole making a great basilica without 
transept, 260 ft. long by 72 ft. wide. It 
has now no atrium ; its eastward front is 
crossed by a deep open porch with a co- 
lonnade of six old Ionic columns on low 
pedestals, carrying an entablature adorned 
with early sculpture and mosaics, above 
which rises the front of the nave, recently 
painted with imitations of old mosaic. 
The rest of the outside is entirely plain, 
and against its northern flank rises a bell- 
tower of the XII cent. , with five stories of 
coupled windows under round inclosing 
arches. The nave, of 36 ft. clear width 
and 125 ft. long, has on each side eleven 
antique Ionic columns, of unequal size, 
some granite, and some cipollino, bearing 



a straight entablature with bracketed cor- 
nice, whose frieze is occupied by flat re- 
lieving arches. Above the arcades is a 
high plain wall, pierced with round-arched 
windows, covered with modern paintings, 
and carrying a modern open roof. Tiie 
older church continues the lines of the 
nave westAvard on a difEerent level. Its 
floor, as appears in the aisles and in the 
old vestibule that crosses the rear, is much 
lower than that of the nave. But Avhen 
the churches Avere joined, the floor of this 
part, taken as the presbytery, Avas raised 
several feet, bringing it above the level of 
the nave, and the crypt built under its 
central part, the former nave. It is bor- 
dered by ten fine antique Corinthian col- 
umns of pavonazzetto, and two of white 
marble, Avhich carry an entablature built 
of irregular fragments of ancient build- 
ings, and above this an arcaded upper 
aisle or Avomen's gallery, Avith smaller 
Corinthian columns and cushion-shaped 
stilt-blocks under the arches. The gallery 
crosses the rear end of the church, and the 
upper wall is occupied by modern panel- 
ling and round-arched clerestory Avindows. 
The old triumphal arch divides the two 
parts of the church ; the Avail over it is 
adorned on the side toward the choir with 
the old mosaics, representing Christ and 
St. Peter, St. Paul, St. Lawrence, and Pe- 
lagius, the restorer of the church ; on that 
toAvard the lower nave Avith modern paint- 
ings. In its spandrels are still two of the 
original rear AvindoAvs, filled Avith perfo- 
rated slabs of marble. In the presbytery, 
over the high altar, stands the old cibo- 
rium with four columns supporting a gal- 
lery of colonnettes, above Avhich is an oc- 
tagonal canopy. BeloAV is the confessio, 
containing the remains of St. Lawrence, 
St. Stephen, and St. Justin ; it has prob- 
ably been undisturbed since the earliest 
days of the church. An inscription claims 
the ciborium as the work of the sons of 
one Paulus in 1148. The presbytery is 
floored Avith a rich mosaic pavement of 



390 



KOME 



opus AUxandr mum, which is continued in 
part in the middle of the nave. At the 
back of the church is the catliedra, or 
bishop's chair, not, as usual, filling the 
back of an apse, for there is no apse, the 
church having a square end and cross- 
aisle. The cliair stands at the end of the 
presbytery, occupying the middle of a 
broad screen of rich marbles and mosaic. 



ing a roof of stone slabs. The history of 
the church is very difficult to unravel. It 
is known to have been founded under Con- 
stantine before 336, and was altered or re- 
built many times — by Sixtus III. in 432- 
40, who adorned the confessio with silver 
and built a cryjit about it ; by Pelagius 
II. in 580 ; by Adrian I. in the viil cent. ; 
by Sergius II. (844-7) ; again in the 




Fig 186. — Rome, S. Lorenzo (uoti, Choir. 



and is flanked by benches for the clergy. 
In the nave below, on citlier side, are 
marble ambones, that on the left side be- 
ing like the cathedra in style and beauty, 
in wliich no others in Rome equal them. 
An inscription on the back of tlie chair gives 
the date, 1354. Both the chair and the 
south ambo belong in stjde to the work of 
the Cosmati, famous Eoman mosaicists of 
the XIII century. Under the floor of the 
presbytery is a considerable crypt, in thi-ee 
aisles separated by marble columns carry- 



middlo of the xii cent, and in the xiii. 
'I'he best conclusion seems to be that the 
churcli of tlie time of Constantine stood 
where the nave now stands, fronting the 
east, like all the earliest churches, M'ith a 
western apse behind wliich was the tomb 
of the saint, and the original confessio ; 
that Pelagius built a second smaller basil- 
ica behind the first, facing westward and 
with an apse including the confessio. 
That basilica is probably the present pres- 
bytery, and its front the straight rear wall 



391 



EOME 



of the church as it now is. Adrian I. 
probably rebuilt the nave and threw the 
two churches into one, closing the western 
door. The cloister which adjoins the 
church on the north has been ascribed to 
the time of Clement III. (1390), but is 
likely to be older. It has triple arches in 
brickwork, and shafts with rough corbel 
capitals. The church has been considera- 
bly restored in this century. {See Fig. 186. ) 

S. Lorenzo in Lucina is a very old 
church, whose foundation has been as- 
cribed to St. Lucina, in the i cent., and 
which in history goes back to Sixtus III., 
at the middle of the v century. It was a 
three-aisled basilica, of which still remain 
the apse and j)arts of the clerestory wall, 
with outside pilaster-strips and arcading, 
the first ajipearance in Rome of a form 
unusual there. It was renewed in the 
XII cent., and retains the six granite col- 
umns of the medifeval porch, but was en- 
tirely built over and disguised at the be- 
ginning of the XVII cent., under Paul V. 
The bell-tower is one of the oldest in 
Rome, at least the plainer lower stories 
with single windows, while the two upper 
stories, with grouped windows, may date 
from the time of Adrian I. (772-795). 

S. Lorenzo in Miranda. See Tem])le 
of Antoninus and Faustina. 

S. Marco, an interesting church in- 
cluded within the precincts of the Palazzo 
di Venezia {q. v.), built about 336 by Pope 
Mark I., and dedicated to his patron 
saint ; restored in 772, by Adrian I., and 
again in 883, by Gregory IV., by whom it 
was extensively adorned with mosaics. In 
1468, when the great palace was built by 
Paul II., the church was practically re- 
built, and little of the original building 
remains. Its jolan is that of a basilica 
whose external dimensions are about 75 
ft. by 200 ft., with a nave about 35 ft. 
broad and 105 ft. long, approached by an 
open vaulted three-arched loggia in front, 
separated from the aisles by the nine 
original columns of jasper on each side. 



against which piers have been built, with 
arches in the intervals, the aisles divided 
into square groined bays and flanked by 
niches alternately square and round, the 
nave covered with a wooden ceiling with 
deeji decorated panels. Beyond the nave 
is a transept with vaulted arms, and be- 
yond this a semicircular tribune with a 
spherical semi -dome, covered with the 
original ix cent, mosaics. The pavement 
of the nave and aisles is some steps be- 
low the street ; that of the transept, which 
serves as choir, is raised to allow of the 
crypt beneath, in which is preserved the 
body of the founder. The aisles have 
side entrances, the one from the great 
court of the palace, the other from one of 
its corridors. The fa9ade, added at the 
time of the rebuilding by Paul II. from 
the designs of Giuliano da Majano, is in 
two stages, the first consisting of three 
open round arches in the intervals of an 
order of engaged Ionic columns ; the sec- 
ond of corresponding blind arches in an 
order of flat Corinthian pilasters, the in- 
tervals having each a square-headed win- 
dow, with a circular window above in the 
arch-head. 

Sta. Maria degli Angeli, one of the 
most interesting and successful examples 
of the adaptation of an ancient classic 
building to modern uses. Among the ex- 
tensive ruins of the Baths of Diocletian 
was a great rectangular hall, about 78 ft. 
wide and 190 ft. long, roofed with a 
groined vault, of which the crown was 93 
ft. above the pavement. The masonry 
both of walls and vault was in good con- 
dition, and Pius IV. determined to con- 
vert the hall into a Christian church. 
The work was done by Michael Angelo. 
Eight noble columns of oriental granite, 
more than 5 ft. in diameter, still standing 
along the sides of the hall with their 
blocks of entablature, formed the basis of 
the new design, an enriched Corinthian 
order encircling the church. The hall 
was lengthened to nearly 300 ft. by the 



393 



ROME 



addition of a square choir at oue end and 
a corresponding bay at the other, and 
short transept arms were added opening 
from the centre. Unfortunately for the 
architecture, tlie dampness of the situa- 
tion obliged or induced Michael Angelo 
to raise the floor 6 or 8 ft., shortening 
the columns and injuring the pro- 
portion of the order. Two centuries 
later, under Benedict XIV., great 
changes were made in this simple and 
grand interior. Under the direction 
of tlie architect Vanvitelli, tlie tran- 
sept was doubled in lengtli by tlie ad- 
dition of a long choir and tribiine on 
one side, and the connection, on the 
other side, with the church of a cir- 
cular hall 58 ft. in diameter, a lacon- 
icniii or hot cham])er of the ancient 
])aths. The original nave of Michael 
Angelo thus became the transept of 
the newer church, of whicli it forms by 
far the noblest portion. An extensive 
Carthusian monastery was established 
within the area formerly occupied by 
the baths, its buildings surrounding a 
great cloister ^T-") ft. sfpuirc, enclosed 
by vaulted- arcades in one story su])- 
porting a low attic, from Michael An- 
gelo's design. According to the plan, 
three sides of this court Avere to be 
surrounded by the individual dwellings of 
the monks, entered from the arcades of 
the cloister and provided each with its 
small garden. The plan remains incom- 
plete, only one range of dwellings having 
been built. {See Ft rj. 187.) 

Sta. Maeia dell' Anima. An inter- 
esting Renaissance church of the early xv 
cent., founded by a German oc Fleming 
in connection with a hospital which still 
exists, but enlarged and essentially changed 
a century later under the partial direc- 
tion of Bramante. Its plan is singular, 
the breadth of the nave and aisles being 
equal to their length, about 78 ft. ; they 
are divided into four bays whose height is 
equal in nave and aisles, the bays of the 



latter being groined, while those of the 
nave are covered by a ilatter vault inter- 
sected by the cross-vaults that rest on the 
round arches of the nave, which spring 
from grouped pilasters standing on ped- 
estals and crowned with blocks of en- 




Fig. 187.— Rome, S. M degli Angc'i. 

tablatnre. From each bay of the aisle 
opens, by a great arch as high as those of 
the nave, a chapel of Avhich the plan is a 
semi-ellipse, while from the extremity of 
the nave a single round arch opens into a 
square choir covered by a flat ceiling, with 
a cove pierced by two lunettes on each 
side, and terminating in a round vaulted 
apse. The palace-like fa9ade, said to 
date from 1522, and attributed to Antonio 
da Sangallo, is a square about 78 ft. wide 
and high, without a gable, in three stages, 
each caged in a thin order of Corinthian 
pilasters, the pilasters coupled at the 
angles, the intervals of the first stage occu- 
})ied by three doorways under Corinthian 
orders with pediments. 



S93 



ROME 



Sta. Makia in Araceli (Ara Coeli), 
a spacious basilica, j^robably of the x 
cent., stands on the brow of the Oapito- 
line Hill. In spite of its commanding 
position it is much concealed by the ad- 
joining convent and the Capitoline Muse- 
um. It is at the top of a long flight of 
stairs built of one hundred and twenty- 
four steps, taken in 1158 from the steps of 
the temple of Quirinus. The exposed 
fa9ade, of bare brick, stripped of the 
mosaic which probably once covered it, is 
only pierced with three doors and two 
trivial round windows. The broad nave, 
•50 ft. by 160 ft., has round-arched ar- 
cades resting on twenty-two ancient col- 
umns of different orders and uneven size, 
and a horizontal coffered ceiling. The 
aisles are groin-vaulted and lined with 
modern chapels ; the old pointed windows 
of the clerestory have been replaced by 
large square-headed ones over alternate 
arches. The transept, raised somewhat 




n Aracefi. 



above the nave, extends unbroken the full 
width of the lateral chapels, and the orig- 
inal apse is replaced by a deep modern 
square-ended sanctuary or choir, flanked 
by chapels. Against the piers at the tri- 



umphal arch stand two remarkable ambones 
in the style of the Cosmati, which once 
stood each side of the nave. One bears an 
inscription claiming it as the work of Lau- 
rencius (Lorenzo), who founded the family 
of the Cosmati at the end of the xii cent., 
and his son Jacobus. The pulpits are 
richly adorned with twisted columns, and 
disks and panels of colored marbles and 
fine mosaic. In the left arm of the tran- 
sept stands an octagonal canopy over the 
position ascribed to the altar of Augus- 
tus, from which the name of the church 
is commonly deduced, and under it is a 
receptacle of porphyry which once con- 
tained, it is said, the ashes of St. Helena. 
There is dispute over the early history 
and date of the church, some authorities 
assigning it to the xiii cent., and others 
setting it as early as the vi ; but probability 
favors the record cited by Mothes, that it 
was founded in 988 by the patrician Cres- 
centius. Built for the special use of the 
Roman Senate, and orig- 
inally called S. M. in 
CajDitolio, it was in the 
hands of the Benedic- 
tines and was restored 
under them in the xil 
cent. ; its mediaeval as- 
pect dates from the mid- 
dle of the XIII cent., 
when Innocent IV. trans- 
ferred it to the Francis- 
cans, who have since 
held it and the adjoining 
convent. Leo X. (1513- 
22) made it the titular 
church of a cardinal at 
about the time when the 
present gilded ceiling 
was added to the nave. 
It has been believed that 
the church occupied the site of the van- 
ished temple of Jupiter Capitolinus ; re- 
cent discoveries, however, have convinced 
most archfeologists that the temple {q. v.) 
stood on the southern summit of the hill. 



394 



EOME 




Fig, 189.— Rome 



n Cosmedin. 



while the Araceli covers the original arx into the nave, is somewhat raised above 
or citadel. A second high flight of steps, the crypt. This is itself a miniatnre 
between the Mnseum and the Palace of church, with nave and aisles divided by 
the Senator, leads up to a handsome six columns and a pair of piers, a tran- 
quasi-Doric arcaded por- 
tico, believed to be the 
work of Vignola, which 
gives entrance to the 
convent and its cloister 
behind the church. (See 
Figs. 166, 188.) 

Sta. Maria in^ Cos- 
medin, a basilica built 
into the ruins of a tem- 
ple identified as the tem- 
ple of Ceres, Liber, and 
Libera. Its early history 
is obscure : it is rejjorted 
as built in the iv cent, 
by Damasus, and refitted 
in the A'l by Belisarius 
for a Grecian colony or 
school ; and was rebuilt 
about 780 by Adrian I., 
to whom its present form is nmst like- 
ly due. It is about 55 ft. by lOO ft.. 
and has a nave and aisles williout tran- 
sept, each ending in an apse. Its struct- 
ure is peculiar, its nave being V)ord('rc'd 
not by continuous colonnades, but Ity 
groups of arches iu fours and llirees se])- 
arated by piers of plain wall, and so is 
one of tlie earliest instances of tlie alter- 
nation of ditt'erent supports which be- 
caiue the hal)it in Lombard and German 
churches, but has an example in the prol)- 
ably earlier Greek church of St. Deme- 
trius, at Tiiessalonica. The columns of 
the nave are mostly antique and irregu- 
lar, with capitals of various forms. 
Others, apparently remaining in place 
from the peristyle of the original temple, 
are built into the outer walls. The nave 
is considerably changed, by covering the 
walls with Renaissance ornament in paint 
and stucco, and by the insertion of a 
tunnel-vault beneath the old timber roof. 
The choir, whicli extends a good way 



sept, and an apse. Its ceiling is of flat 
stones, and its Avails on three sides are 
sunk into niches. The nave of the main 
churcli retains most of its old pavement 
of opit!< AIc.ra)Klyinum, or stone mosaic, 
as does the choir. Over the high altar is 
a handsome Gothic ciborium borne on 
classic columns ; behind it, at the back of 
the apse, the ancient episcopal chair ; 
ami in front, at the sides of the choir, 
two ancient ambones, enriched with mo- 
saics. IMie narthex crossing the front was 
remodelled in stucco (1T18) by Giuseppe 
Sardi, in the degenerate style of his time, 
and a frontispiece built before the nave. 
The bell-tower, which stands against the 
right, or southwestern, aisle, is one of the 
most interesting of the early Eoman cam- 
panile, and unusually tall, being 110 ft. 
high or more. It has been ascribed, like 
the body of the church, to the time of 
Adrian I., but probably at least the upper 
five of its many stories, with triple windows 
divided bv shafts 



belong to the xii cen- 



395 



EOME 



tury. In a corner of the vaulted narthex 
an antique mask, probably from some an- 
cient fountain, is iixed in the wall, and 
gives the church its popular name of La 
Bocca della Verita, from a tradition that its 
jaws will close on the hand of a false wit- 
ness. The small early porch in front of 
the narthex, a single groined bay resting 
on four ancient columns, is, like the rest 
of the fa9ade, disguised by the alterations 
of Sardi. Pliny says that the original 
temple, which was one of the richest in 
Rome, founded 494 B.C., was the first in 
Rome to be decorated by Greek artists ; its 
mural paintings were especially admired, 
and were carefully removed when the 
temple was rebuilt by Augustus and Ti- 
berius. {See Fig. 189.) 

Sta. Maria ik Domnica, or della 
Navicella, is a basilica of the first half of 
the VI cent., rebuilt under Paschal I. in 
the IX, and restored, it is said, by Raphael. 
It has a Avide nave (36 ft.), with a flat 
ceiling, arcades resting on nine antique 
granite columns on each side, and narrow 
vaulted aisles. There is no transe|)t ; the 
triumphal arch, borne by two columns of 
porphyry, opens into the ajDse, or tribune, 
which retains the original mosaics of 
Paschal's time. Under the raised choir, 
which is carried out into the nave, is the 
usual confessio. The two small apses at 
the ends of the aisles are perhaps later 
than the principal one. The walls of the 
nave above the clerestory are painted by 
Raphael's assistants. The front has a low 
open porch or loggia, of five arches and 
an order of tall Tuscan pilasters on ped- 
estals. The popular name La Navicella 
is given by a marble model of a galley, 
said to be copied from an antique, jalaced 
in front of the church by Leo X. 

Sta. Maria Egiziaca. See Temjjle of 
Fortuna Virilis. 

Sta. Maria di Loreto, a Renaissance 
church built by the community of bakers, 
commenced about 1507, from the designs 
of Antonio Sangallo the younger, and 



finished in 1580 under Giacomo della 
Duca. Its plan, dictated by the limits of 
the site, is singular, consisting of a square 
of about 60 ft. with a trapezoidal addition 
about 70 ft. deep, containing the choir 
and sacristy with their accessories. The 
square portion is finished internally as an 
octagon, with semicircular niches in the 
four corners of the square occupied as 
chapels, three other sides having entrance 
doorways, and the remaining side occupied 
by the great arch of the choir. This 
space is covered by a dome, raised on a 
drum supported by an order of Corin- 
thian pilasters with arches between. The 
choir is a rectangle about 22 ft. wide and 
30 ft. deep, and behind it is the sacristy, 
with recesses of varying depth in its sides. 
The choir is covered with a fine barrel- 
vault panelled in caissons, and with a semi- 
circular window under the vault, over the 
roof of the sacristy. The f a9ade is in two 
stages, the lower having a fine order of 
coupled Corinthian pilasters on a high 
stylobate. In the middle interval is an 
arch, enclosing a high square doorway with 
pedimented cap on consoles ; the side in- 
tervals are occupied by niches. The upper 
portion of the exterior, though pictu- 
resquely composed with its dome and cu- 
pola, is disfigured by fantastic and extrav- 
agant ornament. 

Sta. Maria Maggiore, one of the five 
patriarchal basilicas, called also the Li- 
berian Basilica, stands in a commanding 
position on the crown of the Esquiline 
Hill, surrounded by an open square, and 
is the third in importance of the Roman 
churches. The original church, of the iv 
cent., is so built about with modern addi- 
tions that nothing of its early character 
appears without. The exterior is of trav- 
ertine. Its principal front, before which 
stands a great column from the Basilica of 
Constantine bearing a figure of the Virgin, 
set up by Paul V., is a palatial fa9ade in 
several stories, 250 ft. long and 100 ft. 
high, filled with windows and pilasters 



8!W 



ROME 



and crowned by a level balustrade, in the 
baroco style of the middle of the xviii 
century. From the centre projects as it 
were the front of an ordinary Italian 
church, in two stories — an Ionic order 
of five bays below with horizontal en- 
tablature, narrowing to three bays above 
of a Corinthian order with arcades, the 
wliole adorned with engaged columns, 
grouped pilasters, broken pediments, and 



of the two great lateral chapels beyond it. 
The rear fa9ade, rising behind an impos- 
ing flight of steps from the slope of the 
hill, is of the previous century, and more 
interesting. It is also palatial, but treat- 
ed in two stories, with a lofty order of 
Corinthian pilasters below, and a high at- 
tic and plain pilasters above. The great 
apse of the tribune projects from the mid- 
dle, and the cupolas of the chapels make 




-R>Tnn?, S M. MagSK^i' 



statues. This covers the original narthex. 
Behind and under it may still be seen the 
upper part of tlie old front of the church, 
and its coating of luindsome mosaics, 
signed by Phillippus Rusutus, in 1317, 
and continued by (laddo Gaddi. From 
the balcony in the middle of the front it 
has been the custom of the popes to bless 
the people of Rome on the festival of the 
Assumption. A many-storied mediaeval 
bell-towor, presumably of the vii cent., 
with modern roof, staiuls over the end of 
the right aisle, and, from a sufficient dis- 
tance, groups effectively with the cupolas 



an imposing though divided composition. 
The interior shows the plan of the orig- 
inal church, com])ariitively uiuiltcred — a 
spacious three-aisled basilica, now without 
transept, and with a deep apsidal tribune. 
The nave, next in size to St. Peter's and 
St. Paul's, being some 230 ft. long by 50 ft. 
wide, and distinguished for the long lines 
of its horizontal entablature borne by 
twenty-one columns on each side, is the 
most impressive of its kind. Its compar- 
atively small height, only about 60 ft., 
the close spacing of its columns, and the 
multiplied coffering of its flat ceiling, give 



807 



ROME 



it scale, and are seconded by a modern 
upjier order of Corinthian pilasters be- 
tween tlie alternate windows and panels of 
the clerestory. The continnity is only 
once broken, in the fourth bay from the 
tribune, where, as apjjears from the spac- 
ing, two of the original columns on each 
side have been spread apart to make room 
for arched passages across the aisles to the 
two great lateral chapels just mentioned, 
which take the place of a transept. The 
aisles, of less than half the width of the 
nave, have modern tunnel-vaults broken 
by lunettes. The tribune is extended 
toward the nave by straight walls tangent 
to the curve of the apse. Its semi-dome 
is covered with splendid mosaics of the 
end of the xiii cent., by Torriti, who also 
executed those in the apse of St. John 
Lateran. They represent the coronation 
of the Virgin between groups of adoring- 
angels, with apostles and saints. These 
are surrounded by arabesque scrolls so 
purely classical in character as to give 




Fig, 191 —Rome, S. M. Maggiore. 

color to the thought that the old mosaic 
background of perhaps the v cent, was 
left undisturbed. Below are seen, on the 
inside only, the pointed windows cut in 
the apse in the xiii century. On the face 
of the triumphal arch and the walls of the 



nave are older mosaics, representing scenes 
from Old Testament history, while those 
about the arch depict the early life of 
Christ. These are among the oldest Chris- 
tian mosaics in Eome, and are supposed 
to date from the time of Sixtus III., whose 
name is inscribed over the arch. Benedict 
XIV. replaced the old ciborium by a rich 
modern baldacchino, and the confessio and 
subterranean chapel of St. Matthew be- 
neath it were handsomely rebuilt by Pius 
IX. The two great chapels which flank 
the choir, those of Sixtus V. and Paul V., 
are substantially alike in design, being 
Greek crosses with arms of small projec- 
tion, about 70 ft. across within, the cen- 
tral sjDaces covered by domes resting on 
octagonal drums and crowned by cupo- 
las, with an interior height of 150 ft. A 
single order of Corinthian pilasters sup- 
ports the pendentives and the vaults of the 
arms ; the drums have an order of grouped 
pilasters with windows between. The in- 
teriors are sumptuous with colored mar- 
bles, sculpture, and painting. 
In the middle of the Sixtine 
chapel is an altar with a taber- 
nacle supported by bronze an- 
gels, and beneath it a confessio 
enclosing five boards from the 
manger of Christ, brought from 
Bethlehem in the vii cent., by 
Theodore I. From them the 
chapel is called the Capella del 
Presepe (Chapel of the Manger). 
Various other chapels line the 
aisles, among them the curious- 
ly planned chapel of the Sf orzas, 
which ordinarily serves as choir. 
The church was built by Pope 
Liberius (352-366) on the site of 
the jjrivate basilica of one Sicini- 
nus, and was still known as the Basilica of 
Sicininus when, after the death of Libe- 
rius, a bloody fray in the church itself be- 
tween the adherents of two rival candi- 
dates, Damasus and Ursinus, gave the 
papal chair to Damasus. We are told that 



398 



ROME 



Liberius was warned in a dream to build a 
church to the Virgin on tlie spot where 
snow fell on an August niglit, whence it has 
been also called Sta. Maria ad Nives. This 
miracle is represented in the old mosaic 
framed in the front. Sixtus III. (432-40) 
rebuilt it with great splendor directly after 
the Council of Ephesus had declared the 
Virgin to be the real mother of God (Dei 
Genetrix), and dedicated it to her as Dei 
Mater. The apse, perhaps the front also, 
was remodelled in the xii and xiii cent- 
uries. Near 1500 Giuliauo Sangallo added 
the coffered ceiling to the nave, gilded, it 
is said, with the first gold that was brought 
from South America. Tlie rear fa9ade 
was added under Clement X., in 1070-76, 
by Carlo Rainaldi, and the front, in 1741, 
for Benedict XIV., by Ferdinando Fuga. 
Domenico Fontana was the architect of 
the chapel of Sixtus V., about 1583, and 
Flaminio Ponzio of that of Paul V., called 
also the Borghese chapel, and of the bap- 
tistery, near 1008. The chapel of tlie 
Sforzas was designed by Michael Angelo, 
but finished by Giacomo della Porta, and 
considerably altered by Fuga when he re- 
built the front. {Sce^Fifjs. 100, 101.) 

Sta. ]\Iaria sopra Mixekva, an an- 
cient cliurch standing on the site of a 
Roman temple of ^Minerva, and belonging 
to nuns of tlie order of St. Basil, was ceded 
in 1374 to Dominican monks, and imme- 
diately replaced by the present church, 
which is presumed to be from the designs 
of Fra Sisto, of Florence, a Dominican, 
who with his associate Fra Ristoro built 
tlie cliurch of Sta. Maria Novella in that 
city. It is a cruciform church measuring 
about 130 ft. wide and 300 ft. long, and is 
remarkable among the churches of Rome 
for being the only one in the Gothic 
style. Tiie nave, about 40 ft. wide, is in 
six square liays, and is separated from tlie 
aisles by square piers, with luilf columns 
which carry the pendentives of the high 
groined vaulting, and two others support- 
ing the pointed nave arches. The aisles 



are divided into oblong bays, from each of 
which opens a rectangular chapel. They 
are lofty, and the arcades reach to the 
springing of the vaults, with only lunettes 
above them, which are pierced with many- 
foiled round windows. The original ar- 
chitecture is very simple, the vaulting 
low, the capitals plain, and the archivolts 
without mouldings. The transept, which 
has no projection beyond the walls of the 
chaiiels, has a square bay at the cross- 
ing and one square bay on each side like 
those of the aisles. The choir has a sim- 
ple square bay, flanked on each side by 
two narrow chapels opening from tlie 
transept, and terminates in a polygonal 
apse, wliile a modern chapel opens un- 
der a round arch from each end of the 
transept, whose floor is raised above the 
nave. The church was restored in the 
XVII cent., under Carlo Maderno, when 
the facade was partially rebuilt in the 
Renaissance style ; and in 1848-55, a very 
thorough restoration was carried oat, and 
the interior given an aspect of great rich- 
ness, the piers and walls being coated with 
fine marbles, the vaults covered with fres- 
coes in tlie style of the xiii cent., and the 
clerestory painted in garisli fashion. 

Sta. Maria dei Miracoli and Sta. 
Maria di Moxte Saxto. Tliese two 
small churches, alike in their fajades and 
similar, though not identical, in plan and 
disposition, stand on the Piazza del Popolo 
at the two corners of the Corso. They 
were begun about 1062, under Alexander 
VII., from the designs of Rainaldi, but 
the fa9ades were added by Carlo Fontana. 
In plan the one church is a circle, the 
other an ellipse, surrounded by chapels 
and covered by a polygonal dome on a 
high tambour, crowned Avitli a lantern. 
Each fa9ade has a projecting portico of 
four Corinthian columns, with pediment, 
and each cliurch has, on the side next the 
Corso, a square belfry above the roof, with 
a somewhat fantastic spire. 

Sta. Maria dei Monti, a small Re- 



399 



ROME 



naissance conventual churcli, built in the 
latter half of the xvi cent., from the de- 
signs of Giacomo della Porta. Its plan 
consists of a nave about 32 ft. wide and 
50 ft. long, flanked on each side by three 
rectangular recesses, of which two are 
chapels and the third an entrance vesti- 
bule, and opening by a great round arch 
into a square central space covered by a 




Fig. 192.— Rome, Sta. Maria della Pace, Cloister. 

hemispherical dome raised on a high tam- 
bour. This is borne on pendentives by 
four great arches, which open into the 
nave, the shallow transept, and the semi- 
circular tribune ; the whole carried on an 
order of Corinthian pilasters which sur- 
rounds the interior. In the nave the in- 
tervals of this order enclose round arches 
opening into the chapels and vestibules, 
and from its entablature springs the en- 
riched vault of the ceiling, pierced with 
lunettes. The fajade is in two stages, 
each carrying an order of Corinthian pi- 
lasters, the central interval occupied in the 
lower story by a doorway with architrave 
and pediment, in the uj^per by a windoAV 
with balustrade, enclosed between Corin- 
thian columns with entablature and pedi- 
ment. The side intervals have niches and 
panels, and above them scroll-buttresses 
flank tlie narrower upper story. The ad- 



joining College of the Neophytes was 
added by S. Onofrio under Urban VIII. 
(1623-44). 

Sta. Mama della Navicella. See 
S. M. in Domnica. 

Sta. Maeia della Pace, a small Re- 
naissance church built by Sixtus IV. in 
1487, from the designs of Baccio Pintelli, 
and restored with important alterations, 
about 1660, by Alexander VII. 
Its plan is peculiar, consisting 
of a nave about 25 ft. wide and 
45 ft. long, divided into two 
square vaulted bays by wide- 
spaced Doric pilasters, between 
which open small chapels in the 
thickness of the wall, two square 
and two semicircular, while 
above is a clerestory with a 
simple round-arched window in 
each bay. The nave opens in- 
to an octagon 45 ft. in diam- 
eter, beyond which is a square 
choir. The octagon has an or- 
der of high, thin composite 
pilasters, in the intervals of 
which on four sides are the 
arched openings of square chapels in the 
thickness of the wall. Above the en- 
tablature is a low segmental dome with 
panelled soffit, raised on a high tambour 
with Corinthian pilasters and windows 
between, and carrying a lantern. The 
baroco fa9ade in two stages, with orders 
of pilasters and a low pediment, was 
added under Alexander VII. (1655-67) 
by Pietro da Cortona. The first story 
has a projecting semicircular portico of 
coupled Corinthian columns. Attached 
to the church on the north is a convent 
with a fine cloister, an admired work of 
Bramante, 45 ft. square, surrounded by 
vaulted arcades on the first story, and on 
the second by an open corridor with 
grouped composite pilasters, the intervals 
divided by single columns. {See Fig. 
192.) 

Sta. Makia del Popolo, a Gothic 



400 



ROME 



cruciform church of the early xiii cent., 
but rebuilt in 1471 under Sixtus IV., from 
the designs of Baccio Pintelli. Its nave 
and aisles are in four bays, square in the 
nave and oblong in the aisles, covered 
with four-part vaulting, and are separated 
by clustered piers carrying round arches. 
The transept, in three square bays, has a 
semicircular apse or tribune at each end. 
The crossing is covered by an octagonal 
dome. The choir is very long, and has 
three square bays and a semicircular trib- 
une of the full width of the nave. Its 
ceiling is painted with frescoes by Pintu- 
ricchio, and on its walls are two tombs of 
similar design, of extreme richness and ele- 
gance, by Andrea Sansovino, the tombs 
of Ascanio Sforza and Hieroninio Basso. 
The choir is flanked on each side by 
two long cliapels opening from the tran- 
sept. The church is remarkable for the 
richness of its chapels, of which four 
open from each aisle. These are all 
characterized by great elaborateness of 
design and decoration, but two of tliem, 
the Cliigi cliapel on the left, and the 
Cibo chapel on the riglit, surpass the 
rest in sumptuousness of material and 
profusion of ornament. The latter, in 
tlie form of a Greek cross, is from the 
designs of Carlo Fontana ; the former, 
an octagon covered by a dome, is at- 
tributed to Ka])hael, and the mosaics 
of the dome are believed to be from his 
designs. The facade of the church is 
of simple design, in three vertical di- 
visions marked by flat Coriutliian pilas- 
ters on a pedestal-course, witli three 
square doors in the intervals. The cen- 
tre is carried up with two angle pilas- 
ters and a round window, finished 
with a low pediment, and flanked by 
broken curved half pediments of corrupt 
design. {See Fi(j. 193.) 

Sta. Maria della Rotonda. Sec 
PanthcoH. 

kSta. Maria Scala Celt, one of the 
three churches at the Tre Fontane, is a 



small octagonal church designed by Vig- 
nola for Cardinal Alessandro Farnese on 
the site of an older one, and has the charm 
of proportion that belongs to all of Vignola's 
work. It is an octagon with its cardinal 
faces brought forward in reveals, against 
three of which apses are built, and against 
the fourth an entrance porch, the whole 
crowned with a low octagonal dome and 
cupola. The porch has an order of 
Tuscan pilasters whose cornice is carried 
round the church, and above this is an 
attic with a plain modillioned cornice, and 
pinnacles at the angles. Within, the 
dome is semicircular in section, and car- 
ried on an order of Corinthian pilasters. 




Fig. 193, — Rome, S. M, del Popolo, Sforza Monument. 

In tlie tliree apses are altars, and in the 
intermediate sides are niches with windows 
above tlicm. One apse is decorated with 
mosaics by Zuccheri. The original church 
was built over the cemetery of St. Zeno, to 
commemorate a vision of St. Bernard in 



401 



EOME 



wMcli he saw angels leading w-p a ladder 
the souls which his prayers had released 
from purgatory. The altar at which the 
vision occurred is preserved in a subter- 
ranean chapel under the church. (See 
also S. Paolo alle Tre Fontane.) 

Sta. Maeia del Sole. See Temple of 
Hercules. 

Sta. Maria ix Tkasteveee is histori- 
cally one of the oldest churches in Eome^ 
and one in which very complex changes 
have taken place. It is a three-aisled 
basilica of moderate size and plain exte- 
rior, with a transept as wide as the aisles. 
It has a modern portico of Ionic arcades 




Rome, Sta. Maria in Trastevere, Choir. 



covering doors framed in fragments of an- 
cient arabesques, above which rises the 
old front of the nave adorned with mosaics 
of the XII cent., representing the Virgin 



and infant Saviour between the wise and 
foolish virgins of the parable. The in- 
terior is a singular patchwork. The nave 
is about 125 ft. long by 40 ft. wide, with 
aisles of half its width. It is bordered 
by twenty-two very irregular ancient col- 
umns, Avith bases and capitals of great 
variety, Ionic, Corinthian, and Composite. 
The columns carry straight architraves ; 
the frieze is occupied by concealed brick 
relieving arches, and above it is a heavy 
cornice supported by innumerable vertical 
slices of old entablatures, entirely discor- 
dant among themselves, used as brackets. 
Half the original clerestory windows are 
stopped, apparently, and the rest 
altered into arch-headed open- 
ings, framed in modern mould- 
ings ; the pavement has recently 
been raised somewhat and the 
columns shortened, by a new 
pavement. A gorgeous modern 
ceiling by Domenichino, carved, 
gilded, and painted, replaces the 
old open roofs. The transept, 
flush with the aisles, has in the 
middle a modern baldacchino 
over the high altar, beneath 
which is a confessio, or rather 
crypt, containing the remains of 
Calixtus, the founder of the 
church, and four others of the 
popes. The great apse is cov- 
ered with mosaics of the xii 
cent. — Christ and the Virgin 
enthroned between several saints. 
Below is a series of scenes from 
the life of the Virgin in panels, 
ascribed by Vasari to Pietro Cav- 
allini (about 1340), a pupil of 
Giotto. The triumphal arch is 
bare of decoration ; above the 
arch of the apse are mosaics of 
the symbols of the four evan- 
gelists, and beside it the prophets Isaiah 
and Jeremiah. The aisles and transept 
are overgrown with a great number of 
modern chapels. A church was founded 



40S 



EOME 



here, it is said, by Calixtus I., in 322, 
and rebuilt by Julius II. (337-52), re- 
stored in 849 by Leo IV., and again by 
Innocent II. in 1139. Domenicliino's 
ceiling was added about 1630. There 
has been much controversy over the 
age of the church as we now see it. 
Hiibsch, Bunsen, and other older authori- 
ties believe that it dates only from the 
restoration of Innocent II.; others, in- 
cluding Mothes, that the main parts are 
the work of Julius I. {See Fig. 194.) 

Sta. Makia IN" Vallicella, This 
church, more generally known as La 
Chiesa Nuova — the new church— was built 
originally by St. Gregory, but having in 
the XVI cent, fallen into a ruinous con- 
dition, was rebuilt by S. FilipjDO Neri, 
authorized by Gregory XIII. The work 
was begun in 1575, and was carried on 
under various architects, among whom 
was Martino Lunghi, till the consecration 
in 1599. The square facade, masking the 
nave and aisles, is in two orders of grouped 
Corinthian pilasters, with three doors be- 
low and a window and two niches above, 
all under pediments. A broad low pedi- 
ment crowns the whole. Its peculiar 
plan covers an area about 110 ft. by 215 ft. 
The barrel-vaulted nave is about 4i ft. 
wide, separated from the aisles by arcades 
of iive round arches on each side with 
Corinthian pilasters between. The aisles 
are narrow, in rectangular bays con- 
nected by arches, and bordered by semi- 
circular chapels. The transept arms are 
as wide as the nave, the crossing is cov- 
ered by a hemispherical dome ; the choir 
has a single rectangular bay with a round 
apse or tribui\e beneatli which is the rich 
chapel of S. Filippo Neri. The materials 
and decoration of the interior are sump- 
tuous, the walls being covered with rich 
gilding and the vaults and arches with 
stucco reliefs. The vaults are lavishly 
decorated by Pietro da Cortona. The 
adjacent convent, built for the most part 
from the designs of Borromini, has two 



great courts, and some fine apartments, 
notably the sacristy, the oratory, and an 
oval refectory. 

Sta. Maria in Via Lata, a small basil- 
ica, with nave 21 ft. wide and groined 
aisles, built at the end of the vii cent, by 
Sergius I., much altered in 1491, and 
again in the xvii cent., and highly dec- 
orated. The twelve antique Ionic col- 
umns which support the arcades of the 
nave have been recased and their capitals 
gilded ; the old tribune remains. The 
front, an admired work of Pietro da Cor- 
tona, is a two-story columnar loggia, of 
a Composite order above a Corinthian, 
crowned by a pediment, the large central 
arch breaking the entablature of the pedi- 
ment, Avhicli is carried round it. The 
crypt, which is part of the ancient Septa 
Julia, is under the front part of the nave, 
and reached from the loggia. Legend as- 
sociates it and the spring which is found in 
it with the centurion \vith whom St. Paul 
lodged. The church contains the tombs 
of two of the Bonajjartes and of other 
notables. Its name is derived from the 
original Koman street, which nearly coin- 
cided with the Corso. 

Sta. Maria della Vittoria, a cruci- 
form church with an octagonal dome, 
built at the beginning of the xvii cent, 
by Paul v., chiefly from the designs of 
Carlo Maderno, with a fa9ade by Giovanni 
Battista Soria. The fagade, rising from a 
high flight of steps, has two stages each 
with an order of Corinthian pilasters, 
coupled in the central division and en- 
closing an enriched doorway with a sort 
of porch surmounted by a broken pedi- 
ment ; the side intervals are decorated 
niches. The upper stage has only the 
breadth of the nave, with a central arched 
window enclosed in pilasters and pedi- 
ment. A low pediment with a balustrade 
following its rake, covers the whole of the 
upper stage, which is flanked by large 
consoles. 

S. Martii^o ai Monti, an old basil- 



EOME 



ica, built by Symmaclius in 500, altered 
in the middle of the ix cent, by Popes 
Sergius II. and Leo IV., restored at the 
end of XIII, and much modernized in 
1650-76. Of the original church we may 
still see the open atrium and the twenty- 
four ancient Corinthian columns that line 
the broad nave. These stand on pedestals 
and carry a horizontal entablature. The 
flat ceiling above is due to S. Carlo Bor- 
romeo. The aisles have in like manner 
horizontal ceilings, and there is no tran- 
sept. The apse may be part of the 
church of Symmachus, or even of an ear- 
lier church which is said to have been 
built hei-e by Pope Sylvester in the time 
of Constantiue. The choir, which ex- 
tends into the nave, is considerably raised, 
and in front of it an opeii well and stair- 
way lead to the crypt, elaborately restored 
in 1650 by Pietro da Cortona. From this 
again a passage leads to a subterranean 
groined room on the north, which is be- 
lieved to have been part of the baths of 
Trajan, used as a very early church, over 
which is the handsome vaulted sacristy. 
The church is richly decorated, and on 
the walls of the aisles are landscapes and 
figures by the two Poussins, also interest- 
ing paintings of the interiors of the old 
basilica of St. Peter, and of St. John 
Lateran in its early condition. 

SS. ISTereo ED AcHiLLEO, one of the 
lesser basilicas, built near 800 by Leo III., 
and restored from a state of great dilapi- 
dation in 1597 by Cardinal Baronius, with 
an effort to preserve its ancient character 
according to the light of his day, but 
pretty thoroughly modernized in its pres- 
ent condition. It has the simplest pos- 
sible fa9ade, following the outline of the 
nave and aisles, stuccoed and once painted, 
with a pedimented porch on two Tuscan 
columns against the nave and a pedi- 
mented window over it. There is no 
transept ; the nave, 27 ft. wide, is sepa- 
rated from the aisles by six broad low 
arches, on octagonal piers with stucco 



capitals and supporting high walls. The 
low roof is open-timbered. The choir-apse 
is ancient, and about it remain some early 
mosaics representing the Transfiguration 
and the Annunciation. The ancient ar- 
rangement is seen in the raised choir, 
inclosed in a screen, under which is 
the confessio containing relics of saints, 
among them those of Sta. Domitilla, to 
whose attendants, Nereus and Achilles, 
the church is dedicated. The mediaeval 
ambones remain, and the altar and taber- 
nacle, which stand under a modern bal- 
dacchino. 

S. NiccoLO IN Carceee is a small ba- 
silican church of the ix cent., with tran- 
sept and apse, much modernized, and so 
called from its position near, or as has 
been thought upon, the site of the prison 
of Appius Claudius. It is built on the 
foundation of a group of ancient temples, 
its arcades, according to Mothes's exam- 
ination, following the lines of one cella 
wall, and some of the original columns 
remaining in situ on the front. This 
may account for the narrowness of the 
nave, which is only 22 ft. by 90 ft., and 
has its arcades carried on irregular col- 
umns from various buildings. The whole 
interior width is GO ft. The irregular 
aisles, nearly as broad as the nave, and 
covered with barrel-vaults, imbed in their 
walls the lateral columns of the adjoin- 
ing temples of S^^es and Juno Sospita. 
The modern campanile stands over the 
end of the right aisle, beside the front, 
which dates from 1599. The church has 
lately been restoi'ed ; its nave-walls are 
covered by paintings of scenes from the 
life of St. Nicholas, and the choir with 
pictures of the Council of Nice. In the 
crypt appear the substructions of the an- 
cient temple. (See Temples of Spes and 
Juno Sosjnta.) 

S. Onofrio, a small church on the 
Janiculan hill, belonging to the adjoining 
convent of the Girolomini, or monks of 
St. Jerome. It was a late Gothic church. 



404 



EOME 



bnilt in 1429 ; its original style has dis- 
appeared under many alterations. It con- 
sists of a nave of three nearly square bays, 
groin-vaulted, with aisles which have been 
divided into chapels, and a Eenaissance 
tribune. A square campanile is set into 
the N. E. angle of the front, which faces 
north, and an open vaulted porch con- 
nects with an arcade in the front of the 
convent. The churcli is noted as the 
burial-place of Tasso, who died in the con- 
vent. His body lies under an elaborate 
tomb lately biiilt in the chapel of St. 
Jerome. The tribune is painted in three 
tiers of pictures, the lower by Peruzzi, 
the upper probably his also, though they 
have been atti'ibuted to Pinturicchio. 

8. Pancrazio was built at the begin- 
ning of the VI cent, by Pope Symmachus, 
but has been since many times rebuilt, 
last after the siege of Rome in 1849, when 
it was particularly exposed by its position 
outside the Porta Aurelia. It retains its 
old apse and the confessio beneath the 
choir, reached by a double staircase. 
Some of the original arcading of the nave 
also remains, and shows the arrangement, 
unusual in Rome, of piers alternating 
with pairs of columns. Some fragments 
of tlie early ambones are incorporated in 
the modern pulpits. 

S. Paolo fuori le Mura (St. Paul 
outside the walls). This great basilica, a 
mile or more outside the Porta S. Paolo, 
was recently built to replace tlie famous 
one of the age of Constantine, which was 
burned in 1823. It folloM^s the lines and 
dimensions and structure of the old one, 
varying somewhat from it in details. It is 
a great five-aisled basilica with transept 
and a large tribune. The whole length, 
without the tribune, is about 400 ft., the 
breadth across transept 250 ft., across 
the nave and aisles 220 ft. The exterior 
is plain, except the front, toward the Ti- 
ber, where the end of the nave retains in 
some degree its old mosaics, carofully re- 
stored since tlie lire, and representing 



Christ with St. Peter and St. Paul, and the 
four great prophets below. The atrium 
in front, still unfinished, is to be sur- 
rounded by open arcades on granite col- 
umns. A portico of eight Corinthian 
columns against the north transept marks 
the entrance toward Rome. Within, the 
nave and aisles are separated by four rows 
of great granite Corinthian columns, 
twenty in each, carrying arcades. The 
enormous nave, 80 ft. wide and about 
100 ft. high, is nearly 300 ft. long. The 
cornice above its arcades is continued in 
an entablature round the impost of the 
triumphal arch, which remains from the 
old church and is supported by two Ionic 
columns larger than the rest. The mo- 
saic over the arch, representing Christ 
and the twenty-four elders, is rejiroduced 
from the previous one, damaged in the 
fire, which was put up, it is believed, by 
Galla Placidia, sister of Ilonorius, in 440. 
Above the main arcades is a series of me- 
dallions extending into the transept, and 
containing portraits in mosaic of the jDopes. 
Between the pilasters which decorate the 
clerestory walls, and alternating Avith the 
round-arched windows, are pictures from 
the life of St. Paul by modern Italian 
painters. The coffered horizontal ceiling 
above is richly carved and gilded. The 
great nave, almost unequalled in width, 
but somewhat low in proportion, the doub- 
le aisles and countless columns, produce 
an effect of extreme spaciousness and in- 
tricate perspective, and the sumptuousness 
of the walls and clerestory contrasts sin- 
gularly with the rather cold grandeur of 
the lower arcliitccturc. In the transept, 
behind the triumphal arch, is the fine old 
Gothic ciborium over the high altar, cov- 
ered by a recent baldacchino rich with ori- 
ental marbles and malachite. Inscriptions 
on the ciborium declare it to have been 
built by order of Abbot Bartolomew, in 
1285, and that it was the work of Arnolfo 
and his fellow Pietro. This is believed to 
mean Arnolfo di Cambio, architect of the 



4U5 



EOME 

cathedral at Florence. Under tlie altar is sition and proportions very unclassic : tlie 
the small confessio or niche containing the entablature is very heavy, the columns, 
bones of St. Paul, excejjt the head, which coupled in the thickness of the wall, are 




Fig. 195.— Rome, S. Paolo fuori le Mora. 



is preserved in the Lateran. The apse be- 
hind the altar retains its mosaics of the 
XIII cent., representing Christ surround- 
ed by Peter and Andrew, Paul and Luke, 
with Honorius III. at his feet. Over the 
triumphal arch, on the side next the tran- 
sept, are the original mosaics, only in part 
restorations, showing Christ between Peter 
and Paul. The rest of the transept is 
decorated with modern paintings. 

The Convent adjoining the church be- 
longs to the Benedictines. It has one of 
the finest and best preserved of early clois- 
ters, much like that of St. John Lateran, 
in the manner of the Cosmati. This en- 
closes a rectangle of about 70 ft. by 80 ft., 
with an arcade supported on delicate coup- 
led columns. The arches, standing above 
a continiious stylobate, are grouped in 
fours between heavy pilasters, and carry 
a complete entablature. The forms and 
details are mostly classic, but the compo- 



slight, with thick abaci of mediasval pro- 
portion, the shafts now plain, now twist- 
ed, now inlaid with mosaic. The high 
frieze is richly inlaid throughout with 
elaborate mosaic in interlacing bands. 
The architrave bears a continuous inscrip- 
tion in rhymed hexameters, telling that 
the cloister was begun by Peter of Capua, 
afterward cardinal, and finished by John 
of Ardea. Peter of Capua and John of 
Ardea were abbots of the monastery from 
1193 to 1241, which fixes an appropriate 
date for this work. The original church 
of St. Paul is said to have been founded 
here in 324. A rebuilding was begun un- 
der Valentinian, in 386, and completed in 
397 under Honorius. Galla Placidia, 
Honorius's sister, adorned it with mosaics, 
and, it has been said, reversed the orienta- 
tion, which now turns the front to the 
west, against the rule of the earliest 
churches. The mosaics of the tribune are 



406 



ROME 



ascribed to Honorius III. (1216-27). No 
serious changes had been made, apparent- 
ly, from that time till its destruction in 
1823. The transept was restored by the 
architect Belli, in 1828-40, and the nave 
rebuilt in 1841-50, by Poletti, One or 
two of the original chapels still remain as 
before the tire, notably that of the Coro, 
on the right of the tribune, designed by 
Maderno. A new chapel has been added 
on the other side of the tribune, by Polet- 
ti, and a new campanile built against its 
north side. {See Figs. 195, 196.) 

S. Paolo alle Tre Foxtaxe. This 
small church, adjoining that of SS. Vin- 
cenzo ed Anastasio, was built about 1590 
for Cardinal Aldobrandini, by Giacomo 
della Porta, to cover the three fouiitaius 
that sprung up in the places where St. 
Paul's head bounced three times after it 
was cut off. It is of peculiar plan, con- 
sisting of a transverse nave, or what may 
be called a detached transept, standing be- 
tween an apse and a small entrance porch. 
This transept has a shallow apse and altar 
at each end, and the fountains spring 
from three niches, in the prin- 
cipal apse and in the wall of the 
transept on each side of it. The 
design is simi)lc, the interior be- 
ing covered with a tuniiel-vault 
broken by lunettes, and the ex- 
terior and interior ornamented 
with a single order of pilasters. 
(See also Sta. Maria Scala Ccli.) 

St. Peter's, the so-called Ba- 
silica of S. Pietro in A^aticano, 
the largest and most imposing 
of Christian churches, is magnif- 
icently placed at the western 
end of a large open square, tlie 
usual orientation of Christian 
churches, negligently followed 
in Italy, being here reversed, 
and the facade f routing the east. It is ap- 
proached tlirough two successive courts 
nearly a quarter of a mile in length {see 
Fi(j. i97)— first a great oval more than 700 



ft. broad, lined with open porticoes of four 
rows of Tuscan columns, next an open- 
fronted quadrangle some 400 ft. deep, its 
sides faced by galleries which continue in 
pilasters the order of the open colonnades, 
and which enclose at the end the f a9ade of 
the church. This fagade is a plain rec- 
tangle, some 380 ft. long by 150 ft. high, 
comjDosed of a single gigantic Corinthian 
order 108 ft. high, standing on a stylo- 
bate of 18 ft. and crowned by a tall attic. 
It is a simple, straight front, divided by 
pilasters, with level sky-line, and only 
slightly broken by a portico of four en- 
gaged columns carrying a pediment, which 
covers the end of the nave. The simplic- 
ity of the front is relieved only by the 
decorations of the doors, windows, and 
niches that occupy the intercolumniations, 
and by the statues and the trophy-like 
clocks that crown the balustrade. Five 
doors give entrance to the front, ap- 
proached by a great stone platform, to 
which steps lead up on tliree sides. The 
Corintliian order which decorates the 
front is carried round from the nave and 




Fig. 196.— Rome 



choir, being, in fact, the order designed 
by Michael Angelo, which envelops the 
whole church. The exterior is built of 
the warm yellow travertine which is the 



407 



ROME 



principal bixilcling-stone of Rome. From 
any possible outside position the cruci- 
form disposition, shown within by the 
dominating height of the nave and tran- 
sept, is entirely lost, the walls being car- 
ried up uniformly to the height of the 
nave vault, so that the building, with its 
three tiers of windows, is a huge pala- 
tial mass, to three sides of which cling 
majestic round apses, and to the fourth 
the advancing nave, while out of the mid- 
dle soars the great dome. The substruct- 
ure of the dome is a round drum, which 
serves as a stylobate and lifts it above the 
surrounding roofs. On this stands the 
ring- wall of the tambour, decorated with 
a Corinthian order and carrying an attic, 
and on this sits the oval mass of the no- 
blest dome in the world. The tambour, 
50 ft. high, is pierced by sixteen square- 
headed windows. The enormous thick- 
ness of the stylobate allows an outside 
offset sufficient to receive the buttress- 
es, Avhich are set between the windows, 
in the shape of spur-walls with engaged 
columns at the corners, over which the 
entablature is broken. The curve of the 
dome, higher than a semicircle, is of ex- 
traordinary beauty. Between its ribs, 
corresponding to the buttresses below, are 
three diminishing tiers of small dormer 
windows. The lantern above, with an 
Ionic order, repeats the arrangement of 
windows and buttresses in the tambour 
below, and is surmounted by a Latin 
cross, rising, it is said, 448 ft. above the 
pavement. The sacristy, adjoining the 
south transept, and connected with the 
church by two galleries, would itself be 
an imposing building anywhere but under 
the shadow of St. Peter's. The galleries 
lead to a central building in which are 
three great and richly adorned halls serv- 
ing as special sacristies, the middle one 
octagonal and covered by a dome with a 
cupola 150 ft. high. The rest is a pair of 
tall, many-storied wings which enclose a 
court, and in which the canons are lodged. 



But the glory of the church is its in- 
terior. The plan is simple — originally a 
Greek cross with long arms and apsidal 
ends, its centre covered by the great dome, 
resting on four piers, outside which runs 
a broad square aisle intersecting every arm 
of the cross. To this is prefixed the nave 
of three additional bays, with aisles and 
lateral chapels, the whole preceded by the 
spacious narthex in two stories which 
crosses the front behind the fa9ade. One 
enters from the front by the narthex, a 
great vaulted gallery or hall, 40 ft. wide, 
and 340 ft. long, including the two lateral 
vestibules at either end, in which stand 
equestrian statues of Constantine and 
Charlemagne. It is sumptuously orna- 
mented in stucco and gilding. Over the 
middle entrance is a famous mosaic, exe- 
cuted in 1298 by Giotto for the original 
basilica of St. Peter. It is called the 
Navicella, and represents St. Peter walk- 
ing on the sea, but is much transformed 
by restorations. Five doorways lead into 
the church, corresponding to those in the 
fagade, and the central one, opposite the 
Navicella, which is used only lor great 
ceremonies, is closed by two bronze doors, 
likewise from the old basilica, the work of 
the architect Filarete, and Simone Ghini, 
sometimes called without warrant the 
brother of Donatello. The modulus of 
the interior is the immense Corinthian or- 
der, 100 ft. high, corresponding nearly to 
the external order, which carries the 
vaults of the nave, choir, and transejot, 
and the pendentives of the dome. The 
nave is of 85 ft. span and 300 ft. long, in 
four bays divided by massive piers with 
arches 40 ft. wide. Each pier is faced 
with two pilasters, carrying a full entabla- 
ture on which rests the coffered tunnel- 
vault 150 ft. high. The same ordinance 
and the same vault are carried through 
the other arms of the cross. An inscrip- 
tion on the marble floor at the middle 
door records the whole inside length from 
the back of the tribune, 857 palmi, or 



408 



KOME 



614 ft. ; 96 ft. added to this give the ex- 
treme outside length, 710 ft. The breadth 
across the transept is, by Fontana's phxns, 
445 ft. inside, 485 over all. Large seg- 
mental-headed windows, cutting into the 
vault like lunettes, give it light. The 
aisles are divided by cross-arches in two 
stories into bays which are covered with 
small oval domes, and which open into 
lateral chapels. From the third bay on 
each side oj)ens a very large rectangular 
chapel, 45 ft. by 80 ft., with a vaulted 
ceiling, and decorated witli great richness, 
that on the south called the Gregorian 
Chapel, or choir-chapel, that on the north 
the Chapel of the Holy Sacrament. Tlie 
nave leads to a rotunda between the four 
colossal piers, really towers 02 ft. square, 
which carry the pendentives of the dome. 
At tlie junction of the three added bays 
of the nave the plan expands with mar- 
vellous effect. The great piers are iso- 
lated in a vast square ; the quadrangular 
aisle that surrounds them is nearly 50 ft. 
wide — as wide as any church naves but 
the widest — and about 300 ft. long each 
way, its angles marked by small domes. 
Great arches 150 ft. high and 80 ft. wide 
open into tlio rotuiula, whose height and 
amplitude are overpowering. Tlie modil- 
lioned cornice of the entablature tliat en- 
circles and crowns the pendentives, is 175 
ft. high above the floor. It carries the 
tambour, deeoi-ated with a Corinthian 
order correspoiuling to that outside, and 
having coupled pilasters in the intervals 
of the sixteen windows, which are capped 
by pediments. From an attic above the 
order springs the inner shell of the dome, 
somewhat lower in curve than tlie outer, 
ribbed and panelled, and showing the in- 
terior of the lantern through an opening 
at the top. The clear span of tlie dome is 
140 ft., the height 330 ft. to the opening 
of the lantern. The interior of this, 60 
ft. high and covered by a small dome, is 
too much foreshortened by its position to 
be clearly seen from below. In the cen- 



tre, over the high-altar, is the monstrous 
bronze baldacchino, baroco in style, and 
95 ft. high, designed by Bernini, who also 
added the preposterous throne, or shrine, 
supported by statues of four early fathers 
of the church and encomjjassed by a 
swarm of cherubs riding on bronze clouds, 
which incloses the legendary chair of St. 
Peter, and occupies the western tribune. 
The interior architecture is mainly of 
stucco enriched with gilding — the great 
order, the panelled vaults and architect- 
ural details, and the interior of the 
dome. But the pendentives and panell- 
ing of the dome are rich with mosaics ; in 
the pendentives are round panels charged 
with huge mosaics rei^resenting the four 
evangelists. The church abounds in al- 
tars and tombs, built of colored marbles 
and niched into the intercolumniations. 
Popes, kings, and saints are buried here. 
Hundreds of statues stand about the 
tombs and altars, or fill niches, or slide 
down the backs of archivolts ; sub-orders 
of columns, niches, pediments, balconies, 
enliven the wall-spaces of the piers. In 
front of the baldacchino a double horse- 
shoe staircase leads down to an open space 
in front of the high-altar, called the Con- 
fessio, which serves as anteroom to the 
labyrinthine crypt, and which shows in a 
niche under the altar the tomb of St. 
Peter. The crypt is in two parts — first, 
the tliree-aisled crypt of the old basilica, 
extending eastward under the nave ; sec- 
ond, an oval gallery encircling the mid- 
dle space in which are the confessio and 
the cruciform Chapel of the Confession, 
and communicatino; with four radiating 
passages which lead to four chapels in the 
foundations of the great piers, and to as 
many staircases for access to cliapels 
above. In the old crypt are many tombs 
of popes and other dignitaries, removed 
thither when the old basilica was iniUed 
dow)i. 

The church occupies the site of one of 
the earliest and most venerated of Chris- 



409 



ROME 



tian basilicas, tliat built by Constantine 
over the Circus of Nero, a place conse- 
crated by the blood of the early martyrs, 
and covering the adjacent tomb or Marty- 
rium of St. Peter, Avhich, according to 
tradition, is that which is still preserved. 
Constantine, the tradition says, passing the 
place in his triumphant entry into Rome 
after his defeat of Maxentius, vowed a 
memorial church to St. Peter, and not long 
after laid the corner-stone with great so- 
lemnity. It was the largest, if not the 
oldest, built in 324-330, a five - aisled 
church, not far from 400 ft. long and 200 




Fig. 197. — Rome. St. Peter's with its Colonnades. 



ft. across, with transept projecting to 270 
ft., and a nave 70 ft. wide. Its decora- 
tions and fui'niture, destroyed and dis- 
persed at or before its destruction, were 
the wonder of pilgrims and church his- 
torians during the middle ages. This 
church, built in haste, on infirm ground 
and at a time of decadence, required con- 
stant repairing, and after eleven hundred 
years of care, varied by occasional neglect 
and even ill usage, had become so unsound 
that in the middle of the xv cent. Nicho- 
las V. resolved to build a new church, 
which should, he said, equal in magnif- 
icence the Temple of Solomon. He sum- 
moned from Florence the architects Ber- 
nardo Rossellino, and Alberti. Between 
them they jjlanned an enormous church 
which was intrusted to Rossellino, and in 
1450 work was begun on the tribune of 
it behind the apse of the old basilica. 
Nicholas died in 1455, when the walls of 
the new apse were barely seen above 
ground, and no pope resumed the project 
till Julius II. He, early in his reign, 
having commissioned Michael Angelo to 
build him a splendid tomb, and casting 
about for a j^lace to put it, decided to take 
up the project of Nicholas. Architects 
were called into council — the two San- 
galli, Peruzzi, Fra Giocondo, and Bra- 
mante. The last, then in the fulness of 
his fame, prevailed. Flushed with en- 
thusiasm for the revival of classical archi- 
tecture in its purity, and full of audacious 
conceptions, he resolved to build a more 
splendid church and more strictly classi- 
cal than had yet been built, proposing to 
himself, we are told, to " set the dome of 
the Pantheon upon the arches of the Tem- 
ple of Peace." Pope and architect fell to 
work with equal eagerness, Julius to raise 
money by the sale of indulgences all over 
Europe — which specially roused the indig- 
nation of Luther, and did more, perhaps, 
than any other thing to precipitate the 
jorotestant Reformation — Bramante to pull 
down the old basilica and begin the new. 



410 



ROME 




Fig, 198.— Rome, St, Peter's. 



The corner-stone was laid, in tlic founda- 
tion of the S. "W. pier of the dome, on 
April 18, 150(j. Bent on realizing his main 
conception of the dome, Bnxmante pressed 
the construction of the four great piers 
and their arches so eagcrl}-, that at the 
time of Julius's death, in 1,513, the}' were 
nearly ready for its hasc. But the effects 
of haste and of inadequate construction 
showed themselves in serious settlement 
and cracks. Bramante died a few months 
after Julius, leaving the work in this con- 
dition. It would appear that his desigTis 
were lost or destroyed, and it is in dispute 
M'hether he inteiuled a nave and aisles, 
and wliat form he Avould have given to 
the outside. Serlio published, half a cen- 
tury later, a plan which he ascribed to 
Bramante, but it is more likely tliat it was 
a modification projjosed by Raphael, whom 
Bramante on his death-bed recommended 
as his successor to Leo X., the new pope. 
It is probable that Bramantc's plan, like 
Michael Angelo's, was for a Greek cross, 
and it seems hardly doubtful tliat he de- 
signed the church with a single order 



witliin and without, as it was executed. 
In tliis innovation, followed by Michael 
Angelo, he set a fashion ■which greatly 
changed the course of Renaissance archi- 
tecture, abandoning the older treatment 
of a smaller order in each story, and 
bringing the style back, as they argued, 
to the simplicity and dignity of classic 
models, though some modern critics, M. 
Geymilller for instance, restore it with 
two. Raphael \vas appointed in Bramante's 
place, and Giuliauo Sangallo and Fra 
Giocondo were also called in. All three 
died successively in the next half-dozen 
years. Raphael last, leaving a plan behind 
him ; but nothing had been accomplished 
except to strengthen the inadequate con- 
struction of Bramante. Baldassare Peruz- 
zi, and Antonio Sangallo, the nephew of 
Giuliano, M'ere next appointed. To dimin- 
ish the cost, Peruzzi again changed the 
plan, omitting the long nave proposed by 
Raphael, and restoring the Greek cross. 
His plan, preserved by Serlio, was in the 
main like that which was afterward 
adojited by Michael Angelo, but more 



4n 



EOME 



complicated. Nothing of importance 
seems to have been accomplished till the 
pontificate of Paul III. Peruzzi died in 
1536, and Paul, taking up the project 
anew, ordered a new design of Sangallo. 
His elaborate model, 26 ft. long and 15 
ft. high, is still preserved, and shows a 
radical change of design. He prefixed an 



insisted on bringing him from Florence to 
take charge of the Avork. Michael Angelo 
at last consented, and in a fortnight pre- 
pared a new model, which, like Sangallo's, 
is still preserved. He simplified Peruzzi's 
plan, struck ofE Sangallo's narthex, sub- 
stituting a plain portico of detached col- 
umns, and restored the single great order 







Fig. 199.— Rome, St. Peter's, Rear. 



enormous narthex, flanked by two high 
towers, and reverting to "the earlier Re- 
naissance manner, carried two small orders, 
separated by a mezzanine, over the whole 
design, instead of the single great order of 
the previous architects. But in 1546 he 
also died, having done little but to pre- 
pare his design, and still further strength- 
en the inadequate masonry of Bramante. 
At this point Paul summoned Michael 
Angelo, who had found fault with San- 
gallo's design, calling it Gothic in char- 
acter, and in spite of his repeated refusals 



as we now see it. For the rest of his life 
he gave himself up to this work, turning 
ofE the jobbers who, as appears, had 
fastened themselves upon it, refusing 
every year the fee that was offered him for 
his services, maintaining his position and 
the confidence of four successive popes, 
in spite of detraction, intrigue, and 
calumny. He began, like his predecessors, 
by further strengthening Bramante's un- 
lucky piers, pulled down the small addi- 
tions of Sangallo, and in the course of his 
seventeen years' administration succeeded 



412 



EOME 



in carrrying up the walls and facing them 
with the exterior order, establishing the 
interior order, building the pendentives 
and stylobate of the dome, and construct- 
ing a model of the dome itself so thor- 
oughly detailed that tliere was no excuse 
for departing in any degree from his in- 
tentions. Near the end of his adminis- 
tration Viguola and Pirro Ligorio were 
appointed to assist him, and wlien in 1564 
he died, at the age of eighty-nine, they 
succeeded him on the exjDress condition 
that they should make no change in his 
design. Ligorio was soon discharged by 
Pius v., then pope, and Vignola, left in 
authority, scrupulously carried out the de- 
sign, finishing the exterior all but the 
fa9ade, including the tambour of the 
dome with its order, and building two of 
the four small cupolas with which Michael 
Angelo had proposed to surround it. 
\'iguola died in 1573, and the work 
languislied till the accession of Sixtus V., 
who appointed Giacomo della Porta, a 
pupil of Vignola, and Domenico Fontana 
to continue it. They, with Sixtus's per- 
mission, changed the curve of the dome, 
giving it the superb outline which dis- 
tinguishes it from all others, and 
pressiug it with great energy, finished 
it in two years, so that Sixtus, in 1590, 
laid with great ceremony the finishing 
stone of the ring that was to support the 
lantern. Fontana meanwhile had won 
reputation by transporting and setting up 
the great obelisk in the square in front, 
and Della Porta, who was a clever de- 
signer of ornament in stucco, had adorned 
tlie interior. The lantern was added un- 
der Clement VIII., but it was not till Paul 
V. that the facade was undertaken. He, 
finding the lengtli of the nave inadeciuate 
for the crowd that attended the great fes- 
tivals, and insisting tliat the whole con- 
secrated area of the original basilica should 
be included, called a new competition, in 
which the project of Carlo -Madcrno, a 
nephew of Foutana, was chosen. He 



added three bays to the nave, so reverting 
to the plan of the Latin cross as proposed 
by Eaphael, and built the faQade, which 
bears the date MDCXII. The next pope. 
Urban VIII., appointed Bernini to finish 
the work, who continued the interior 
decoration, and later, under Alexander 
VII., added the splendid porticoes and 
galleries that lead up to tlie fa9ade. He 
also made the statues of Constantine and 
Charlemagne that occupy the two vesti- 
bules. Maderno had attempted to add 
two towers on the flanks of his facade, but 
liad blundered so in his foundations, that 
he gave it up as impracticable. Bernini 
unwisely undertook to carry out Maderno's 
plan, and was soon stopped by the failure 
of tlie masonry. This was made a pre- 
text for disj^lacing Iiim by Borromiui, 
who thus got the opportunity to adorn 
the interior with the sprawling colossal 
figures in stucco tlnit disfigure the luive. 
Alexander VII. reappointed Bernini, and 
his additions practically finished the great 
work which had been in hand for two 
centuries, under thirty popes, and fifteen 
architects, tlie most distinguished of tlieir 
time. The only important later addition 
was the sacristy, by Marchioni, in 177G-84. 
The men whose hands are distinctly seen in 
the result are Bramante, Michael Angelo, 
and Bernini in right of their talents, and 
Maderno by virtue of his opj)ortunity. 
To Bramante belongs the great concep- 
tion, 80 firmly held and so clearly set forth 
that, excej^t for the momentary aberration 
of Antonio Sangallo, none of his succes- 
sors thought seriously of departing from 
it ; to Michael Angelo the form in 
which the conception was embodied, the 
details of the plan, the design of the out- 
side and inside orders, and of the dome, 
with its peristyle of buttresses and its 
lantern ; to Maderno the first serious de- 
parture from the intention of his great 
predecessors, probably enjoined upon him 
by the pope, and the commonplace facade ; 
to Bernini the noble approach. It is uni- 



413 



ROME 



versally recognized that the design of 
Bramante and Michael Angelo is greatly 
injured by the lengthening of the nave, 
which covers the dome from the accessible 
points of view, and hides the grouping of 
the principal parts of the church. It 
must be said, however, that the great 
artists to whom the church owes its 
splendor also contributed each in some 
way to diminish its effect ; for the single 



feels the church to be smaller than he had 
expected. The difficulty is increased by 
the colossal size of the sculptured figures 
in the decoration, which suggest a false 
scale, and mislead the spectator's judg- 
ment. Bernini, too, contributed his mis- 
calculation, for instead of making the 
long galleries which connect his colon- 
nades with the church parallel to each 
other, and at right angles with the front. 




Fig. 200 — Rnme St Peter's. 



great order, for which both Bramante and 
Michael Angelo are responsible, while it 
adds dignity to the design, undoubtedly 
tends to dwarf it and prevents its scale 
from being apjjreciated. The grandeur of 
the design appears, not from the front, 
but from some point in the rear where the 
dome can be seen in combination with 
the apses that surround it. Inside, the 
length of the nave adds to the effect of 
the church, but the enormous scale of 
the principal order is even more deceptive 
than outside, and almost every visitor 



he made them converge from it. The ef- 
fect to one who approaches the church is to 
apparently shorten them and make it look 
nearer than it is, and therefore smaller. 
But familiarity, and especially the presence 
of a crowd of people, enable the spectator 
to comprehend the size of the interior, 
and the final impression is one of over- 
whelming grandeur. Many faults have 
occurred in the construction of the 
church. The foundations of Maderno's 
front were out of line and so weak, as we 
have seen, that the tower which Bernini 



EOME 



tried to build on them liad to be taken 
down. Bramante's piers were strength- 
ened again and again by his successors, and 
only when they were finally reinforced by 
Michael Angelo, were thought strong 
enough to carry the dome. Built of solid 
stonework, they would have sufficed with 
half their present size ; but they are of 
rubble and concrete, faced with plaster. 
A century after the church was finished 
it appeared that there were serious cracks 
in and under the dome. A council of 
architects and engineers was called, who 
decided that the tambour and dome must 
be strengthened by iron bands, and this 
was accordingly done at four or five levels. 
Cracking and splitting of the masonry 
has gone on slowly but continuously since 
that time ; and a commission appointed 
to examine the dome some years ago, re- 
ported that the structure had seriously 
deteriorated in consequence. Under these 
conditions, it requires a sanguine spirit to 
trust that the great work of Michael 
Angelo will last as long as its predecessor, 
the basilica of Constantine. {Sec Figs. 
197-200.) 

S. PiETRO IX Cakcere is the name 
given by the Church to the upper of the 
two chambers excavated in the rock of 
the Capitoline Hill, and known as the 
Mamertine Prisons {q. v.). It is a rectan- 
gular apartment about 30 ft. long, 32 ft. 
broad, and 14 ft. high, enclosed in a wall 
of ruii-oed Etruscan masonrv, of which the 
courses overlap horizontally so as to close 
in a false vault. The place was in use as 
a Christian basilica as early as the iv cent. , 
and in 1475 was converted into a simple 
oratory under the direction of Baccio 
Pintelli, and dedicated to St. Peter, 
who, according to the tradition of the 
Cliurch, was here kept in confinement 
under Nero. An ascending staircase of 
twenty-eight steps connects the chamber 
with the church of San Giuseppe dei Fa- 
legnami. (See J^nnrrfiiic Fn'soiis.) 

S. PiETRO IN MoxTOKio, a Renaissance 



church, stands in a commanding position 
on the Janiculum, occupying, it is said, 
the site of an older one founded by Con- 
stantine to mark the spot of the crucifix- 
ion of St. Peter, and was rebuilt at the 
end of the xv cent., at the instance of 
Ferdinand and Isabella of Spain, from the 
designs of Baccio Pintelli. It consists of 
a single rectangular nave about 32 ft. 
wide and 90 ft. long, divided by pilasters 
and transverse arches into three square 
bays covered with four-part vaulting. On 
the sides of the first and second bays of 
the nave are small semicircular chapels, 
two to each bay. From the sides of the 
third or easternmost bay open semicircu- 
lar tribunes or apses, occupying the place 
of transepts, but appearing from without 
only as chapels, and its eastern end ex- 
tends into a choir consisting of a single 
rectangular bay, terminating in a vaulted 
polygonal apse. The exterior design is of 
great simplicity. The fagade is a plain 
fiat wall of stone in two stories, with angle 
pilasters and a low gable ; in tlie centre of 
tlie first story is a simple square doorway, 
above it a small wheel-window. The 
sides are divided by pilaster-strips into 
four compartments, each with a plain 
round-arched window. The apse is abso- 
lutely plain. On the south side of it 
rises a square campanile witli an open 
arched belfry and pyramidal spire. At- 
tached to the church on the north side 
are two square cloisters surrounded by 
vaulted arcades, the first containing in the 
centre of the enclosure the famous round 
temple (Tempietto), built in 1502 from 
the designs of Bramante, and presumed 
to mark the exact spot where tlie cross 
of Peter's martyrdom was set up. It is 
a circle of about 20 ft. diameter, sur- 
rounded by a Doric colonnade of sixteen 
columns and covered with a hemispheri- 
cal dome on a high tambour. Tlie inte- 
rior has an order of Doric pilasters with 
four niches in the alternate intervals. 
Under the temple is a crypt with its walls 



415 



EOME 



divided into panels by pilasters, and with 
a low vaulted ceiling panelled and richly 
decorated with reliefs in stucco. Bra- 
mante projected a rebuilding of the clois- 
ter with a circular colonnade concentric 
with that of the temple, but the design 
was never carried into execution. 

S. PiBTRO 11^ ViNCOLi (St. Peter in 
Chains), called ofticially the Basilica Eu- 
doxiana, is a plain basilica of the v cent., 
consisting of a nave, aisles, and transept 
with three eastern apses. It is mostly 
covered by adjacent buildings, and the 
exposed front added by Baccio Pintelli is 
very simple — an open arcade of five bays 
carried on grouped pilasters, with a plain 
story of as many square-headed windows 
above. The nave is spacious but short, 
being 50 ft. by 125 ft. The aisles are of 
less than half the width of the nave, and 
the main arcades are unique, having nar- 
row arches that rest directly on two rows 
of ten slender Greek-Doric columns of 
Parian marble, perfectly uniform, wliose 
shafts are monoliths, and provided with 
bases. The old decoration and the old 
windows of the naVe have been displaced, 
the walls stuccoed over, and a vaulted ceil- 
ing added in modern times. The trium- 
phal arch is borne by two Corinthian 
columns backed by grouped pilasters. 
The principal apse, or tribune, retains the 
ancient bishops' chair, but has lost the 
lining of marble and mosaic which prob- 
ably once covered it. The vaulting of the 
transept is modern, and probably that of 
the aisles. In the right arm of the tran- 
sept is the famous monument of Julius II., 
who, however, is buried in St. Peter's. It 
is but a fragment of the original design, 
and its principal interest is in the statue 
of Moses, by Michael Angelo, which is its 
most conspicuous feature. The church 
was founded in or near 442 by the em- 
press Eudoxia, as a depository for St. 
Peter's chains. These, one-half of them 
preserved in Rome and one-half brought 
from Jerusalem by the empress's mother 



Eudocia, spontaneously linked themselves 
into a single chain when they were brought 
together. Hence the different names of 
the church — Titulus (parish church) Eu- 
doxiae. Basilica Eudoxiana, and S. Petrus 
in Vinculis. It has been several times re- 
stored: in 556 by Pelagius I. as an inscrip- 
tion on it shows ; by Adrian II. (772-95) , 
by Sixtus IV. (1476), to whom the vaults 
are due ; for Julius II. by Baccio Pintelli ; 
and finally modernized in 1705 by Fran- 
cesco Fontana, who remodelled the nave 
and added the wooden ceiling. The ad- 
joining cloister is believed to be the work 
of Antonio Sangallo, who is buried in 
the church. It is surrounded by a very 
open arcade of plain arches, cari'ied on 
Ionic columns. In the centre is a well 
with an octagonal sculptured curb, under 
an entablature borne by four Ionic col- 
lumns, which is ascribed to Michael An- 
gelo, but is doubtless by the designer of 
the cloister. 

Sta. Prassede, an early basilica, built 
in memory of St. Praxedis, daughter of 
the senator Pudens, with whom, accord- 
ing to tradition, St. Paul lodged during his 
stay in Rome. There is some appearance 
of confusion between this church and Sta. 
Pudentiana (</. v.), in the legends which 
place both on the site of an oratory built 
in the ii cent, by Pius I. Record tells as 
early as the end of the vcent., of a church 
which fell into decay, and was replaced 
in 817-820, under Paschal I., by a new 
building which still remains, apparently 
on an adjoining site. It has a nave and 
aisles, separated by two rows of Corinthian 
columns carrying an entablature which is 
relieved by flat bearing-arches in the wall 
over each intercolumniation, a transept, 
and apsidal choir. The old atrium, built 
about with modern buildings, is represent- 
ed by a small court-yard that only partially 
displays the front, renewed in the xvi 
century. This is reached by a passage at 
whose entraiice is an interesting original 
porch, a barrel-vaulted bay, borne on pro- 



416 



ROME 



jecting lintels and supported by a pair of 
Ionic columns. The nave, 44 ft. wide, 
has a modern flat coffered ceiling ; the 
narrow transept is blocked by a bell-tower 
and by screens ; and the choir, which 
extends across the middle of 
it, is raised several steps 
over the semicircular con- 
fessio, in which are the 
tombs of St. Praxedis and 
her sister St. Pudentiaiia, 
with others. Tlie marked 
peculiarity of the churcli, 
one which lias been a sub- 
ject of controversy among 
arcliseologists, is that every 
third column is replaced by 
a pier carrying an arch 
across the nave, as in S. 
Miniato in Florence and 
some other later basilicas. 
These arches, repeated 
across the aisles, divide the 
church into bays of three 
intercolumniations each, a peculiarity 
which, if it could be shown to belong 
to the original structure, would give the 
first known examjile of the division into 
compound bays which characterizes tlie 
Lombard and German churches. But it 
is probable that the piers and arches were 
later insertions added to stay the colon- 
nades when the barrel-vaults were built 
over the aisles. The mosaics of the apse 
and the triumphal arch, which date from 
tlie first building of the church, are very 
interesting. So are those which decorate 
the chapel of St. Zeno. or of the Colonna 
Santa, in the right aisle. This chapel is 
of the X cent., and was named, because of 
its splendor, Orto del Paradiso. Other 
chapels line the aisles, of which the chief 
is the Olgiati, built near the end of the 
xvi cent, by Martino Lunghi. At the 
end of the xii cent. Innocent III. gave 
the church to the monks of Yallombrosa. 
In the XVI S. Carlo Borromeo, its titu- 
lar cardinal, built the monastery whose 



cloister is behind the choir, rebuilt the 
facade, and modernized the interior. {See 
Fig. 201.) 

Sta. Prisca, a very old church, occu- 
pying, it is thought, the site of Servius 




Fig. 201.— Rome, Sta. Prassede. 

Tallius's temple of Diana. It was a three- 
aisled basilica, its arcades supported on six- 
teen columns of marble and granite, M'hich 
were incorporated into the piers wlien tlie 
church was modernized by Carlo Lombardi, 
in the beginning of the xvii century. 
There is record of the church as early as 
the V cent., and according to tradition it 
dates back to the ii century. A double 
flight of steps leads down to the crypt, 
which, according to tradition, was built 
into tlie house in which St. Prisca lived 
and was baptized by St. Peter. 

Sta. Pudentiana has been called, ap- 
parently Avithout sufficient reason, the 
oldest church in Eonie, but retains little 
of its early aspect. It was a three-aisled 
basilica without transept, flat-ceiled, and 
with an apse of unusual form, segmental 
in plan, instead of the ordinary semicir- 
cular tribune. The arcades, of wide sj^an, 
were carried on seven pairs of marble col- 
umns. These had no bases, but peculiar 
Is of a kind of water-leaf, and may 



417 



EOME 



still be seen imbedded in the later piers 
added at the time of vaulting the aisles^, 
which are now divided into chapels. The 
two eastern bays have been marked off by 
heavier piers which supported an oval 
dome overlapping the ancient apse. The 
building is believed to stand upon the 
house of the Koman senator Pudens, 
whose daughters, St. Pudentiana and St. 
Praxedis (see Sta. Prassecle) were among 
the earliest martyrs. According to the 
legend Pius I. in 145 consecrated a 
church here, but it is impossible that any 
important part of the existing church 
should date from that time. There is 
record of a rebuilding by Adrian I. in the 
latter part of the viii century. Hilbsch 
attributes the church to the iv cent., but 
the width of the arches, the slightness 
and the structure of the walls, are against 
this theory, which is not sujjported by 
record, and Motlies and other late 
authorities hold to the viii century. In 
like manner the mosaics of the apse have 
been ascribed to the iv cent., but the bal- 
ance of authority inclines to the ix. 
A small chapel, which makes the end of 
the left or southern aisle, and was said to 
contain the table on which St. Peter cele- 
brated the holy supper, may be part of an 
earlier church ; and the vaulted subter- 
ranean rooms over which the building 
stands are doubtless parts of the j^alace of 
Pudens. The fact that the church be- 
longed and still belongs to a convent of 
nuns, is reason for the women's gallery 
over the entrance. The bell-tower, im- 
planted in the left aisle, can hardly be 
earlier than the time of Adrian I., and its 
three upper stories, which resemble those 
of S. M. in Cosmedin, are probably later. 
The church was more or less altered in the 
xi and XII cents., and considerably trans- 
formed in 1598 under Cardinal Gaetano, 
who added the elaborate chapel of the Gae- 
tani, opening out of the left aisle. Eecent 
alterations have farther disfigured it, with 
special injury to the mosaics, which are 



among the finest of their early period. At 
the same time the front, which contains an 
old doorway flanked by twisted columns, 
was restored, and ornamented with new 
mosaics. 

SS. QuATTRO CoRONATi, a small basilica 
of unusual form, which took the place of a 
temple of Diana in the iv or v cent., it is 
said, and was dedicated to four martyrs 
of the persecution of Diocletian. It was 
originally a large church, with nave and 
aisles separated by two rows of thirteen 
columns, carrying arcades and an upper 
gallery, with a western apse and no tran- 
sej^t. The church, which in this form 
was probably the work of Honorius, early 
in the vii cent., and was afterward aug- 
mented by Leo IV., in the ix, was de- 
stroyed by Robert Guiscard in 1084, and lay 
desolate till, in 1111, Paschal II. rebuilt it 
on a diminished scale. The present church 
was made by blocking uj) the arcades of 
the old, so that the original nave is now 
the whole, building into it new aisles, 
arcaded, vaulted, and with galleries above 
them : but half the old nave has been 
cut off for an open atrium and a vaulted 
narthex, and the aisles, only five bays, 
stop short of the apse, leaving a kind of 
transept. The nave and transept are flat- 
ceiled, and the apse, which takes the 
whole width of the church as it now is, 
and suffices for the choir, is raised above 
a crypt that contains in four urns the re- 
mains of the patron saints. The ancient 
bishops' chair still keeps its j^lace in the 
centre of the wall of the apse. The orig- 
inal atrium, in front of the whole building, 
remains, but is encroached on by the 
niinnery to which the church belongs. 
From it opens the Chapel of St. Sylvester, 
added at the end of the xiii century. The 
church is held in reverence by the stone- 
masons of Rome, commemorating, accord- 
ing to their legend, some early sculj^tors 
who suffered martyrdom for refusing to 
make statues of heathen gods. 

Sta. Saba is the church of a monastery 



418 



ROME 



on the Aventine Hill, and, it is believed, 
on the dwelling of Sylvia, mother of Greg- 
ory the Great. It was probably built 
about 630, by Honorius I., for a company 
of Greek monks of the order of St. Basil. 
It is a small three-aisled basilica, about 
100 ft. long, without trauseiit. Its most 
marked peculiarity is an open nartliex 
which, as in many German churches, but 
in no other Eoman one, is carried up 
above the aisles in three stories, making a 
sort of cross-wing nearly as high as the 
nave. The lower story is supported on 
square brick piers which take tlie place, it 
is said, of marble columns first used. The 
upper story is an open arcaded loggia on 
columns of plain mediseval form. Au ar- 
caded cornice of Lombard type on the 
rear side shows that this loggia and nar- 
tliex were considerably modified by later 
rebuildings. The main arcades of the 
nave rest on fourteen somewhat unequal 
ancient columns, Ionic and Corinthian, 
the clerestory windows are small and 
sparse, and the roof oi3en-timbercd. The 
ratlier small apse is screened off according 
to the habit of the Greek cluirch, by a 
kind of iconostasis, which crosses the rear 
wall of the nave and includes tlie baldac- 
chino over tlie altar. Tiie original exe- 
dra, or stone boiicli for the clergy, has 
been removed. Tlie last bay of the nave 
and aisles is raised over the confessio, 
whicli extends under the apse and contains 
an altar decorated witli mosaic. Early 
mosaics, or substituted paintings, deco- 
rate the vault of tlie apse, and a mediitval 
painted frieze crowns the walls of the 
nave. In tlie walls of the aisles are seen 
blind arches, not answering to the main 
arcades, and resting on corbels like the 
capitals of columns built up in tlie wall, 
as if there had once been an outer aisle, 
since sujipressed by blocking up the ar- 
cades. An inscription on the walls shows 
that Cardinal Francesco, of Siena, added 
the open roof in 1403. and two small side 
chapels were added to the aisles in the xvi 



century. The enclosure of the monastery 
is entered through an interesting porch, 
like those of S. Clemente, and Sta. Pras- 
sede, and Sta. Maria in Cosmedin, which 
consists of a bit of barrel-vaulting under a 
gable, supported on two antique columns 
bearing lintels. 

Sta. Sabixa, built on the site and per- 
haps of the materials of an ancient tem- 
ple, is a three-aisled basilica of considerable 
size, dating from the iv century. The 
nave, 43 ft. wide, 50 ft. high, and nearly 
IGO ft. long, is sejoarated from the aisles 
by arcades of thirteen arches, carried ou 
marble Corinthian columns and support- 
ing a wall pierced by round-arched clere- 
story Avindows. The regularity and work- 
manship of the columns and arcades has 
led Mothes to conclude that they show the 
liypajthrum of the original Temple of Lib- 
erty, unaltered. The roof is open-timbered. 
There is no transept, and the great ajise 
at the end of the nave is flanked by a 
smaller one at the end of each aisle. The 
church is attached to a Dominican monas- 
tery, and the last three bays are according- 
ly raised to form a great choir, with steps 
crossing the whole church, Avhile a stair- 
way leads down in the middle to the con- 
fessio beneath it. The narthex across the 
front, lined with detached columns sup- 
porting cross-arches, is a ruder structure, 
perhaps of the ix century. It is some- 
what transformed by later changes, and 
the present entrance is on the right (east) 
side, under a portico of columns. Two or 
three modern domed chapels open from 
the right aisle, and one on the left, the 
Chapel of St. Catherine, is lined with mar- 
ble. The church was built, or adapted, 
under Oelestine I., about 425, by a priest, 
Peter the Illyrian, whose name is recorded 
in an early mosaic on the wall over the 
door. It was restored by Adrian I. and 
Eugenius II., and considerably modern- 
ized in 1585-90, by Sixtus V. Honorius 
III. (12K!-2r) gave the church and ad- 
joining palace to the Dominicans, who 



419 



ROME 



turned the whole into a monastery ; but 
it is not likely that they built the cloister 
which connects with the church on the 
west, for it is of rude architecture and 
evidently too early in date. It is, how- 
ever, of interest, for it shows a kind of 
Lombard design rare in Rome, having 
broad arches carried on square piers, and 
divided and subdivided by sub-arches rest- 
ing on columns alternately single and 
coupled. 

S. Sebastiano fuori le Muea, an 
ancient Christian basilica on the Via Ap- 
pia, two miles beyond the Porta S. Se- 
bastian©, reported to have been built in 
the IV cent., but restored in 1296, and 
practically rebuilt in 1611 by the Cardinal 
Scipio Borghese, under the direction of 
Plaminio Ponzio. The church consists of 
a nave without aisles covered by a wood- 
en ceiling, no transept, and square choir. 
Tliis choir is covered by a dome belong- 
ing to the restoration of 1296, and under 
the nave is a groined crypt. The fayade 
is of two orders, coupled Ionic columns 
below with arches between, and Doric 
pilasters above enclosing square - headed 
windows. A low pediment covers the 
whole front. From a door in the wall of 
the nave a narrow stair descends to the 
extensive ancient cemeteries close to the 
Catacombs of St. Calixtus. 

S. SiLVESTRO IN Capite is a small 
basilica built by Paul I. in the vill cen- 
tury. It has a nave in four bays with 
piers and arcades, covered with a late 
barrel-vault, a small transept, and aj^se. 
The aisles have been divided into chapels. 
The lines of the atrium are preserved and 
also the original bell-tower. The church 
was restored and much altered in 1696 by 
Giovanni di Rossi, who added the present 
fagade. It takes its name from the head 
of St. John, which is here preserved, it is 
said. 

Sta. Silvia. See S. Oregorio Magno. 

S. Spirito in Sassia. This church is 
attached to the hospital of the same name. 



the largest in Rome, founded in 1198 by 
Innocent III. on the site of an older one 
dating from 717, and built, it is said, by 
Ina, king of the Saxons, whence the name 
of the church. The hospital, destroyed 
by fire, was rebuilt after 1471 by Sixtus 
IV., from the designs of Baccio Pintelli, 
who also built the church at nearly the 
same time. The church is a rectangle 
about 68 ft. wide and 160 ft. long. Its 
nave, about 40 ft. wide and 110 ft. long, 
is flanked by five semicircular chapels on 
each side, and terminates in a square 
choir with a semicircular tribune. The 
fa9ade is in two stages, each with an order 
of Corinthian pilasters, of five bays in the 
lower story, narrowing to three in the 
upper ; the latter crowned by a pediment 
and flanked by consoles. In the middle 
interval below is a doorway, in that above 
a round window ; the other intervals con- 
tain niches. At the rear of the church 
rises a square campanile terminating in 
two stories of pilasters, with two intervals 
in each face, each interval including two 
stories of two-light windows under a 
round bearing-arch. The hospital, which 
is of vast extent, including several courts, 
and with a fa9ade 400 ft. in length, is 
separated from the church by the palace 
of its governor, which has a frontage of 
something more than 150 ft. contiguous 
to that of the church, and of which the 
buildings enclose a square court with two 
stories of light open arcades, the lower 
vaulted, the upper with a flat wood ceil- 
ing. 

S. Stefano Rotoxdo is a singular 
round church of the v century. At pres- 
ent it is a circular building of about 140 
ft. diameter, consisting of a central ro- 
tunda of 70 ft. clear width, surrounded 
by an aisle of 30 ft. The wall of the 
rotunda, 75 ft. high, is carried on a circle 
of twenty Ionic columns 22 ft. high, and 
two piers. These carry a horizontal entab- 
lature with relieving arches over the in- 
tercolumniations. Above is a clerestory 



4^0 



ROME 



of round-arched -windows, and a low coni- 
cal roof. The aisle was once an open 
arcade with an onter circuit beyond it ; 
but the outer circuit has mostly disap- 
peared, and the inner is walled up. The 
arcade, of forty-four arches, was divided 
by eight piers into as many grouj^s of 



.,..-^=^=.. 




Fig, 202.— Rome, S. Stefano Rotondo. 

alternately five and six arches. The 
smaller groups, corresponding to the car- 
dinal points, have higher arches carried 
on Corinthian columns, the intermediate 
ones lower, on Ionic columns. In this 
arcade all tlie columns carry stilt-blocks, 
those on the Corinthian capitals marked 
with a cross. The eastern group of arches 
has been left open, giving entrance to a 
chancel provided with a small apse, mark- 
ing the main axis of the churcli, and 
flanked on each side by one or two mod- 
ern chapels, which follow the lines of the 
old oiiter aisle. Across this main axis, 
in the middle of the churcli, a later wall 
has been carried, spanning tire rotunda, 
as if to strengthen the failing construc- 
tion, resting on arches borne by two high 
Corinthian eohunns and by two of the 
piers above mentioned, which replace or 
enclose two of the columns. Tlie present 
entrance is oblique, on the north side of 
the apse, under an open porch with four 
free-standing columns. Some early mo- 
saics still remain in the apse, and the 
walls are painted with scenes of Christian 
martyrdom before the time of -Julian the 
Apostate, by Pomeranzio, in the xvii cen- 



tury. The original plan of the church 
is somewhat obscure ; but according to 
Hiibsch's restoration the outer circuit was 
divided by four radiating arms corre- 
sponding to the one which remains, with 
its apse, and forming a kind of cross. 
These were connected by four segments of 
a narrower aisle, corresponding to the 
four groups of five smaller arches, and 
the space filled out to the circumference 
of the arms of the cross by a ring of four 
narrow courts, walled in but not roofed 
(see j)lan. Fig. 202). The church was 
built by Pope Simplicius, and consecrated 
in 4G8 ; the irregularity of the materials 
and the roughness of the work correspond 
with this date. It was repaired by John 
I. and his successor, Felix IV., who lined 
it with mosaics and marbles that have all 
but disappeared. The cross-wall which 
stays the roof is ascribed to Adrian I. 
(772-91); and Nicholas V. (1447-55) find- 
ing the churcli too dilapidated for his re- 
storing, walled in the inner aisle and left 
the outer parts to crumble. The singular- 
ity of its plan has led some authorities to 
believe tliat it could not have been origi- 
nally a church ; and it has been assumed 
to contain tlie remains, or at least the 
foundations, of the Macellum Magnum or 
great market of Nero ; but the construc- 
tion, even of tlie foundations, is incom- 
patible with such a theory. 

Sta. Susanna, an early church, men- 
tioned as long ago as the iv cent., and 
altogether rebuilt in the first years of the 
XVII cent., by Carlo Maderno. It is a 
cruciform church without aisles, and owes 
to him the rich and lieavih^ panelled flat 
ceiling of the nave, as well as tlie fa9ade. 
This last is the earliest work of Madei*no, 
and marks the beginning of the baroco 
style in Italy, though it is far soberer than 
the buildings in that style that followed 
it. It simulates rather than follows the 
outline of the nave and aisles, and has an 
order of Corinthian columns in tlie lower 
story enclosing niches, and in the centre 



421 



ROME 



a large doorway under a pediment. In 
the second story, flanked, by scroll-but- 
tresses, is an order of pilasters, likewise 
Corinthian, with a great central niche 
under a sub-order, and flanked by two 
lesser ones, the whole surmounted by a 
broken pediment and raking balustrade. 

Sta. Tkin"ita DEI Monti, a familiar 
church by Domenico Fontana, occupying 
a conspicuous site at the head of the Span- 
ish steps, so-called. Its history is obscure. 
There is a tradition that it was founded by 
Charles VIII. of France in 1494. The 
faQade is ascribed to Fontana, though one 
of the towers bears the inscribed date 1570, 
when he was but twenty-seven years old. 
The interior was ajjparently older, and 
the transept still shows pointed arches. 
After the failure of a portion of the vault- 
ing toward the end of the xviii cent. , it 
was restored about 1816 by a French arch- 
itect, Mazois. It is a cruciform church, 
with a nave separated by four piers on each 
side from a range of connected chapels 
occupying the place of aisles, and a square 
choir. The fa9ade is narrow and high, in 
three divisions Math an order of Corinthian 
pilasters, the central interval occupied by 
a doorway, the side divisions slightly ad- 
vanced and crowned by two similar towers, 
with square open belfries capped by oc- 
tagonal lanterns. At the left side of the 
church is a convent, of which the build- 
ings enclose a square cloister surrounded 
by a vaulted arcade. 

Sta. Trinita dei Pellegrini. A 
church and hosjDital, the latter founded in 
1548 by S. Filippo Neri, the former built 
about 1614 from the \Jesigns of Paolo Mag- 
gi ; the fa9ade added a century later by 
Francesco de' Sanctis. The whole plan 
covers an area of about 215 ft. by 260 ft., of 
which the church occupies one angle. It 
is interesting for its skilful and effective 
disposition of joarts, and includes some fine 
apartments. The church is a rectangle 
of about 64 ft. by 140 ft., divided into a 
short nave flanked by three rectangular 



chapels on each side, opening by arches in 
the intervals of an order of pilasters, a 
short transept, and a choir consisting of a 
short rectangular bay with a semicircular 
tribune. The crossing is bounded by four 
great arches springing from detached col- 
umns, and is covered by a dome. 

SS. ViNCENzo ED Anastasio, called 
also S. Vincenzo alle Tre Fontane, is a 
basilica of the vii cent., rebuilt at the end 
of the VIII, and retaining in the main its 
form of that date. It is about 235 ft. 
long, and 100 ft. across the transept, with 
a nave of brick, and aisles, transept, and 
chancel alternately coursed in brick and 
tufa. Across the front is an open porch 
like that of S. Lorenzo fuori {q. v.), with 
four wide-spaced granite Ionic columns 
in front, sujjporting an architrave pro- 
tected by flat relieving arches. The clere- 
story walls have flat pilaster-strips and a 
brick cornice with small marble modil- 
lions. Within, the nave, 138 ft. long, is 
bordered by heavy piers 4| ft. square, 
carrying nine round arches, of which the 
two nearest the entrance are walled up. 
The roof is open-timbered, and on the 
piers are painted the twelve apostles from 
Eaphael's designs, disfigured by restora- 
tions. The- aisles, which, like the tran- 
sept and square-ended chancel, are later 
than the nave, are vaulted ; the transept 
does not cross the nave, but is lower, and 
its arms open through arches larger than 
those of the main arcades. The high 
clerestory wall, above the low arcades of 
only 20 ft. high, is pierced with small 
round-headed Avindows, many of which 
retain their old filling of perforated 
marble slabs. The arms of the transept 
have each beside the chancel two square 
chapels of later date. The church was 
founded by Honorius I., in 629, restored 
by Adrian I., in 772, and rebuilt "a 
fundamentis " in 796, by Leo III. The 
portico inscribed with the date 1140 be- 
longs to the administration of Innocent 
II., who built or reorganized the adjoining 



422 



KOME 



monastery for the Cistercians under St. 
Bernard. Since 1868 the whole, witli the 
two adjoining churches (see JS. Paolo 
alle Tre Fontane and Sta. JIaria Scala 
Cell), has been in the possession of the 
French Trappists. Two aisles of the 
adjoining cloister remain, rather rudely 
built, with groujis of four sub-arches un- 
der enclosing arches carried on marble 
columns with bracket caps. 

The Sapiexza, the great University of 
Rome, was founded as early as the mid- 
dle of the XIII cent., under Innocent IV., 
for the study of the canon and civil law. 
It was greatly enlarged, both as to its build- 
ings and the scope of its teaching, under 
successive popes, but the present build- 
ings, not begun until tlie Ijeginning of the 
XVI cent., were finished as late as 15TG, 
under the direction of Giacomo della 
Porta. Tlieir plan is a rectangle, measur- 
ing nearly 180 ft. in breadtla by 205 ft. 
in deptli, with a long court in the centre, 
entered directly from the central doorway 
of the princijial facade, and flanked by 
corridors wliicli give access to tlie various 
halls of the University. Tlic majestic 
front, of extraordinary simplicitj', is di- 
vided by string-courses into three stories, 
of wliich tlie lower is almost unbroken ex- 
cept by the central pedimcnted door, and 
the others have a group of windows in the 
middle. Two narrow bays like pavilions 
are marked off at the ends by quoins, and 
a modillioned cornice crowns the whole. 
The great court, which measures about 
65 ft. by 156 ft., is surrounded on three 
sides by two stories of very simple vaulted 
arcades faced by orders of pilasters, Doric 
below and Ionic above, with a third story 
of flat wall divided into panels, each with 
a square window witli moulded architraves 
and smaller horizontal panels above each, 
with a roundel containing a lion's head. 
At the extremity of the great court is a 
church dedicated to San Ivo, built from 
the designs of Borromini, witli a fantastic 
plan composed of a triangle whose sides 



are broken by semicircular niches, and 
surrounded by an irregular cluster of 
chapels. It has a concave front toward 
the court, above which rises a dome on a 
drum of broken outline, and at the toj:) an 
absurd spiral lantern. 

The Scala Santa (Holy Staircase), 
consisting of twenty-eight marble steps 
about 12 ft. broad, brought from Jeru- 
salem by the empress Helena in 326, and 
asserted to be those of Pilate's palace — is 
enclosed in a building erected by Leo III., 
and rebuilt with additions by Sixtus V., 
about 1585, from the designs of Domenico 
Fontana. It is flanked by two straight 
staircases on each side, separated by solid 
walls, with a portico of five arches in 
front. At tlie head of the stairs is a log- 
gia from wliicli opens the Sancta Sancto- 
rum, so called, a Gothic chapel of small 
size, Avhich forms the only portion now 
remaining of the ancient papal palace of 
the Lateral!. The fa9ade has a length of 
about 96 ft., and, as built from Fontana's 
designs, consisted of two stories of ojien 
arcades, faced witli Doric and Corinthian 
pilasters. Of these only the lower re- 
mains, the upper having been replaced 
during the reign of Pius IX., by a flat 
wall -with an order of Ionic pilasters, with 
pedimented windows in the intervals. 

Septizoxium. See Palace of the Cm- 
sars. 

Sessorian Basilica. See Sta. Croce 
in Gcrumlcmme. 

SiSTixB Chapel. See Vatican. 

Tabularium, the seat of the state 
archives, and of those concerning the 
public treasury. It faced the Forum, in 
the immediate neighborhood of the tem- 
ple of Saturn, where the treasury was 
established, and has left considerable re- 
mains. An inscrijition shows that the 
existing edifice was built by the consul Q. 
Lutatius Catulus, in 78 B.C. The massive 
walls at the back are of peperino on the 
outside and tufa within ; opposite them 
stands a range of arcades with heavy piers 



433 



ROME 



of peperino, ornamented on the side tow- 
ard the Forum with fluted Doric semi- 
columns whose capitals are of travertine, 
and opening on a series of vaults. Upon 
this substructure stood a double arcade 
with Doric and Ionic columns ; the lower 
range formed a j^ublic passage, and inside 
of it a series of rooms was grouped about 
a court. The quadruple series of vaulted 
chambers behind the arcades of the fa9ade 
was in part walled up by Michael Angelo 
in the construction of foundations for the 
Palace of the Senator, and these vaults 
were used under Nicholas V. as a store- 
house for salt. The arcaded portico 
formed an architectural connection be- 
tween the two parts of the Capitoline Hill. 
The length of the substructure is 233 ft., 
its height 49 ft. The portico now serves 
as a museum for architectural fragments, 
especially from the temples of the Forum. 
A steep ancient stair of sixty-seven steps 
leads from the outside of the building, 
at its lowest level toward the Forum, to 
the large hall which faced on the back. 

Tempietto. See S. Pieiro in Montorio. 

Temple of Axto:n'ikus astd FAtTSTi:s'A, 
fronting on the north side of the Forum 
Romanum, opposite the House of the 
Vestal Virgins. It is the best preserved 
temple on the Forum. The cella, still 
surviving in great part, was in the xvii 
cent, converted into a church under the 
invocation of San Lorenzo in Miranda. 
The ancient prostyle portico of six col- 
umns, with two intervening on each flank 
before the antse, still exists ; the columns, 
46 ft. high, are unfluted, of beautiful 
cipollino marble, with handsome Corin- 
thian capitals of white marble. The 
architrave bears the ancient dedicatory in- 
scription. The frieze of the long sides is 
sculptured with rich candelabra and vases 
between advancing griffins. On the east 
side almost the entire frieze is in place, 
with portions of the ornate cornice. The 
temple measured in plan 72 ft. by 120 ft., 
and was raised on a basement 16 ft. hio-h. 



TE5IPLE OF Augustus, discovered in 
1890 in the Via Tordinona. Portions of 
the foundations and stylobate show that it 
was circular, and preserve the marks of 
the column - bases. The entablature is 
Corinthian, and the cornice has lion-head 
water-spouts. The capitals, of Corinthian 
outline, are peculiar ; they represent a 
panther-skin wrapped about the echinus, 
with the paws projecting at the angles. 
The temple was preceded by a j^ortico of 
horseshoe form. Another temj)le of Au- 
gustus, founded by Tiberius and comjDleted 
by Caligula, has been conjecturally iden- 
tified with ruins behind the temple of 
Castor and Pollux. 

Temple of Castor A]!fD Pollux, near 
the eastern end of the Forum Eomanum, 
adjoining the Basilica Julia. Only three 
fine Corinthian columns of the peristyle 
remain standing, with part of their en- 
tablature ; these belong to the western 
long side, and are 46 ft. high. Some por- 
tions of the cella walls remain, and part 
of the careful black and white mosaic of 
the cella floor. The basement of the 
temple is 24^ ft. high and 98 ft. wide ; it 
was approached from the side of the 
Forum by a large triple flight of steps. 
Tlie columns belong to the embellishment 
executed under Tiberius ; the interior 
jiortions of the temple to the old Eepub- 
lican sanctuary, whose original founda- 
tion goes back to the battle of Lake 
Regillus, in 496 B.C. The temple was 
peripteral, octastyle, with eleven columns 
on the flanks. 

Temple of Coxcorb, occupying the 
N. W. angle of the Forum Romanum. It 
appears to have been founded by Camillus, 
in 367 B.C., in honor of the reconciliation 
of patricians and plebeians. Under Au- 
gustus the structure, which had become 
decrepit, was rebuilt in the Corinthian 
style. The building consisted of two 
parts : that in front, forming the temple 
proper, was 83| ft. wide and 47^ ft. deep ; 
that behind, which served as the Senate- 



424 



EOME 



house, was 147| ft. wide and 79 ft. deep. 
It stood upon, a massive basement ; the 
front part, which had six columns on the 
fa9ade and four on each flank, was pre- 
ceded by a monumental flight of steps. 
The interior of the cella had ranges of 
columns along the walls, on a raised stylo- 
bate. The Senate-house was ornamented 
with paintings and statues. The founda- 
tions survive, together with many frag- 
ments of the rich architectural decoration, 
which is among the finest in Rome and 
evidently of Greek workmanship. 

Temple of Deus Rediculus (the god 
of turning back), a short distance outside 
of the Porta San Sebastiano (tlie ancient 
Porta Capena), so-called from tlie legend 
that Hannibal, alarmed by visions, turned 
back here from his advance u|)on the 
city. The structure, however, is not a 
temple, but a funeral monument in tlie 
form of a pseiido-periptcral temple with 
Corinthian pilasters, built of red and yel- 
low brick. Tlie walls are divided by two 
bands of meander in baked tiles ; the 
technique of the brickwork and ornament 
is excellent. The interior consists of two 
stories with groined vaulting, the lower 
arranged to receive the burial urns and 
the ujjper as a chapel. There is ground 
for believing this to be the tomb of the 
celebrated Herodes Atticus, of liis wife 
Annia Regilla, and of their children. 

Temple of Faustixa. See Tvmplc of 
Antoninus and Faustina. 

Temple of Fortuna Vikilis, so-called, 
now the Armenian Catholic church of 
Sta. Maria Egiziaca. It is Ionic, tetra- 
style, pseudo-peripteral, with seven col- 
umns on the flanks, and is one of the 
most perfect monuments of ancient Rome 
remaining. The four columns of the 
front portico, with one on each flank, orig- 
inally stood free, but the intercolumnia- 
tions were walled up when the temple was 
converted into a church. The entablature 
remains perfect on the west side. The 
frieze was carved with bucniuia and 



graceful festoons, and the cornice orna- 
mented with dentils, the egg-and-dart 
moulding, and a cyma bearing acanthus 
sprays and lion-head waterspouts. The 
cella and the high moulded basement are 
built of tufa, originally coated with stuc- 
co ; the decorative parts are of travertine. 
It is in-obably the temple of Fortuna, 
without any epithet, or else that of Mater 
Matuta, both built by Servius on the 
Forum Boarium. The temjile measures 
36 ft. by 02 ft. ; the height of the col- 
umns is 27 ft. 

Temple of Hadriax, so-called, though 
by some scholars the monument is 
thought to be the Basilica of Neptune, or 
Portico of the Argonauts, built by Agrip- 
pa in commemoration of his naval suc- 
cesses in 20 B.C. If the first attribution 
is correct, and it seems confirmed by the 
style, it was built by Antoninus Pius. 
Eleven great Corinthian columns 49 ft. 
high, of Carrara marble, remain with their 
entablature in the Piazza Pietra, before the 
Camera del Commercio, forming jjart of 
the north portico of the ancient structure, 
which was a pcrijjteros of eight columns 
by fifteen, on a high basement. The inter- 
columniatious were walled up by Innocent 
XIL, in 1095, to obviate impending ruin. 
A portion of the bai'rel-vault of the cella, 
ornamented with cotters, remains in the 
interior. 

Temple of Hercules, the identifica- 
tion at present best authorized for the 
beautiful columnar circular monument on 
the ancient Forum Boarium, long familiar 
as the Temi)le of Vesta [q. v.). From its 
marble stylobate rise nineteen of the orig- 
inal twenty slender, well - proportioned 
Corinthian peristyle columns of Parian 
marble. The shafts are about 26 ft. high, 
and the capitals appear to date from about 
the time of Sulla. The entablature and 
the ceiling between it and the surviving 
cella wall are gone ; the existing conical 
roof rests directly on the columns. The 
diameter of the cella is 33 ft. : the door 



425 



ROME 



was on the east side, and was flanked by 
windows. The temple was at an early 
date dedicated as a church, at first to S. 
Stefano, and later to Sta. Maria del Sole, 
which latter attribution it preserves. 

Temple of Julius Caesar (Aedes Divi 
Julii), at the eastern end of the Forum 
Romanum, a prostyle pycnostyle structure 
on a very high basement, dedicated by 
Augustus on the site of Ceesar's funeral 
pyre. It was the earliest temple in Rome 
dedicated to a mortal. At the Forum end 
was the orator's platform (Rostra Julia) 
of C^sar and Augustus, whose plan shows 
a large semicircular recess in the middle ; 
the front of this platform bore the beaks 
of the ships taken at Antium. The re- 
mains are scanty, yet sufficient to supply 
a complete plan. Between this temple 
and that of Castor and Pollux rose the 
Arch of Augustus, now gone except parts 
of the foundations. 

Temple of Juno Sospita. See Tem- 
ple of 8pes. 

Temple of Jupiter Capitolinus, a 
famous sanctuary, now almost wholly de- 
stroyed. It occujoied the western summit 
of the Capitoline Hill, and is described as 
about 200 ft. square. It had three ranges 
of widely spaced columns in front, on a 
high raised basement, and three cellas side 
by side, dedicated to Jupiter, Juno, and 
Minerva. In both plan and details it was 
much more Etruscan than Roman. It 
was founded by Tarquinius I., but dedi- 
cated only in 509 B.C., after the expulsion 
of Tarquinius Superbus. In the course 
of later restorations, the last one by Do- 
mitian, it was lengthened, and perhaps 
made narrower ; the portions of the foun- 
dations remaining show the width to have 
been 183 ft., and the length somewhat 
greater. The greater j)art of the site is at 
present covered by the Caflarelli joalace 
and gardens. 

Temple of Jupiter Stator, beside the 
ancient Porta Mugonia. It has been con- 
jecturally identified with the remains of a 



large platform in concrete close to the 
suj)posed position of the Porta Mugonia. 
Another great temple under the same in- 
vocation stood beside that of Juno Regina 
within the Portico of Octavia. (See Por- 
tico of Octavia. ) 

Temple of Mars Ultor (the Aven- 
ger), in the Forum of Augustus. It was 
founded by Augustus in fulfilment of a 
vow made at the battle of Philippi, and 
was dedicated in 2 B.C. It ranked as one 
of the most splendid temples in Rome, 
and was adorned with works of art and 
military trophies. Three of the fine Co- 
rinthian peristyle columns are still stand- 
ing, with a pilaster and part of the cella 
wall. The columns are 59 ft. high and 5f 
ft. in lower diameter. These belong to the 
eastern long side. The coffered ceiling 
between the cokimns and the cella wall 
is of excellent design. Toward the close 
of the V cent, the church of S. Basilio 
was built among the ruins of the temple, 
and until 1820 its campanile rested on the 
surviving columns. The temple was octa- 
style, with porticoes on three sides only ; 
at the back it had an apse and was built 
against the massive end wall of the Forum. 

Temple of Minerva. See Forum 
Romanum. 

Temple of Minerva Medica, so 
called from the discovery here of the well- 
known statue of Minerva Medica, in real- 
ity an elaborate structure for the reception 
and distribution of Avater. It may be the 
monument known in antiquity as the 
Nymj^haeum of Alexander. It is one of 
the most important domical structures 
that have come down from ancient times, 
and from its masonry and style is assign- 
able to the III century. Unfortunately, a 
part of the wall and dome of the central 
building fell in 1828 and 1868. The plan 
is a decagon Avitli ten large interior niches, 
the diameter 82 ft., and the height of 
the dome 108 ft. The walls are pierced 
in the upper part Avith a number of well- 
]oroportioned round-headed AvindoAVS. The 



426 



EOME 



monument had originally a semicircular 
wing on each side of the central rotunda, 
and was preceded by a vestibule with col- 
umns. 

Temple of Neptune, or Poseidoneum, 
on the Campus Martins, identified with 
strong probability in the remains of a 
peripteral temple recognized in the build- 
ings of the Dogana di Terra or Dogana 
Vecchia. There are still standing eleven 
Corinthian columns of Luna (Carrara) 
marble, with their entablature, a large piece 
of one side of the cella, and a small piece 
of one end. The ceiling of the pteroma 
consists of a barrel-vault of concrete, orig- 
inally adorned with reliefs in stucco. 
Palladio gives a plan of tliis temple as 
hexastyle with fifteen columns on the 
flanks. Excavations made in 1878 dis- 
closed remains of porticoes forming an 
enclosure about 330 ft. square about this 
temple. This is plausibly held to be 
the Portions Neptuni built by Agrippa. 
In the basement of the temple were set 
thirty-six reliefs representing the prov- 
inces of tlic Roman Em])ire, sejiarated by 
trophies of the military cqui^jmcnts char- 
acteristic of the several provinces. A 
number of these reliefs still exist. 

1'emple of Peace. See Basilica of 
Constant ine. 

Temple of Romuli's. See ;S'«S'. Cosmo 
e Dantiano. 

Templk of S.vtukx, on the south side 
of the Forum Romanum, near its western 
end. A very ancient altar to Saturn stood 
on tills spot, and was at an early date re- 
placed by a temple. I'his temple was re- 
built under Augustus, and restored by 
Se2)timius Severus, aiul finally by Diocle- 
tian. The six unfluted Ionic columns of 
the fa(;ade are standing with their entab- 
lature and part of the pediment, together 
with an adjoining column on each flank. 
The nuirble capitals are of a debased tyi)e 
with four angle-volutes ; the shafts are of 
gray and red granite. A part remains of 
the flight of steps whicli gave access to the 



lofty platform of the temple, 71 ft. by 107 
ft., which is built of travertine and be- 
longs to the building of Augustus. From 
the early days of the Republic, the Temple 
of Saturn served as the chief public treas- 
ury. 

Temples of Spes axd Juno Sospita, 
as identified with strong probability, two 
of a group of three pre-imperial temples, 
perhaps restored in the early empire, side 
by side on the Forum Olitorium, or oil- 
market. Considerable remains of all 
three are incorporated in the jn-esent 
church of S. Niccolo in Carcere. The 
central temple was the largest, and was 
Ionic, hexastyle, peripteral, with a deep 
portico of three interior ranges of columns 
before the cella. One side of its cella- 
wall, in travertine, and four columns sur- 
vive. The second largest temple was also 
Ionic and hexastyle, and would have been 
perijjteral but for the extension across its 
side porticoes of the back wall of tlie 
cella. The third temple was considerably 
smaller ; it was hexastyle, i)eri25teral. and 
of Tuscan order. Five jjeristyle columns 
of the last temjile are standing, and seven 
columns with some pieces of wall of the 
second. Fragments of the walls are vis- 
ible in the crypt of the church, some of 
the columns appear in its fagade, and 
others in its side walls. In the upper part 
of the church structure aji^iears some of 
the entaljlature of the middle temple, 
with a gracefully sculptured frieze. (See 
S. Niccolo in Carcere.) 

Temple of Venus and Rome, on the 
Sacred Way, near the Forum, and be- 
tween the Colosseum and the Basilica of 
Constantine. The temple had two cellas, 
back to back, the colossal goddess-statue 
in each occupying a semi-domed ajise at 
the inner end. The cella walls were each 
ornamented with five niches for statues, 
alternately roiind and square, with side- 
columns and alternately round and trian- 
gular pediments. Between the niches 
rose decorative columns supporting an en- 



EOME 



tablature and sculptures. The two semi- 
domes witli their diamond-shaj)ed lacu- 
nars of stucco, and one wall of each cella, 
survive, one cella being within the enclos- 
ure of the convent of Sta. Erancesca Ro- 
mana. Before each cella was probably a 
pronaos of four columns in. aiitis. The 
peristyle had ten great iiuted Corinthian 
columns of white marble on each front, 
and twenty on each flank. The pedi- 
ments were filled with sculptures. The 
stylobate was raised on seven steps. 
About the temple was a spacious court 
paved with white marble and surrounded 
with porticoes of gray granite and red 
porphyry columns. There were raised 
and decorated propylsea in the middle of 
each side. The court was ornamented 
with monumental columns, ilanking the 
temple, which perhaps bore statues of the 
empress Sabina and the emperor Hadrian, 
tlie founder of the temple. 

Temple op Vespasian, formerly called 
Temple of Jupiter Tonans, in the Forum 
Romanum, at the N. W. end, built against 
the Tabularium. The three fluted Corin- 
thian columns of Carrara marble, with 
their entablature, which formed the north- 
ern angle of the prostyle hexastyle west 
front, form a conspicuous memorial of 
this temple. The height of the columns 
is 50 ft., their base - diameter over 5 ft. 
The richly ornamented entablature was 
long studied as an architectural model, 
and is effective despite its excess of ex- 
uberance. Much of the marble pavement 
of the cella remains in place. The in- 
terior had ranges of columns along the 
walls, on a raised stylobate. This temple 
was dedicated by Domitian, about 94 A.D.. 
and restored by Septimius Severus and 
Caracalla. 

Temple of Vesta, the seat of the cere- 
monial hearth of the Eoman State, at the 
eastern end of the Forum Eomanum. 
Only the substructions of tufa and rubble 
remain of this venerable sanctuary, with, 
however, enough architectural fragments 



to afford material for a complete restora- 
tion as the temple existed in the lii cen- 
tury A.D. It was circular, about 50 ft. in 
diameter, with a portico of twenty mono- 
lithic fluted Corinthian columns. This 
monument is not to be confounded with 
the familiar circular edifice in the Piazza 
della Bocca della Verita, which was form- 
erly known as the Temple of Vesta, but is 
now generally called the Temple of Her- 
cules. 

Theatre of Marcellus, founded by 
Julius C^sar, and dedicated by Augustus 
in 13 B.C. It and the theatre of Pompey 
are the earliest examples of the complete 
Roman theatre in masonry with archi- 
tectural adornment- of the exterior ar- 
cades. The outer wall was solidly built 
in two arcaded stories of splendid traver- 
tine masonry, ornamented with engaged 
columns and entablatures — those of the 
lower tier Doric, of the upper Ionic. 
The lower tier is now buried to two- 
thirds of its height. Twelve of its ar- 
cades are still visible, and with those 
above are now occupied by modern houses, 
which have replaced the mediseval fortress 
of the Pierleoni and Savelli. The stage 
was very deep ; some part of the exterior 
of the stage-structure still exists. Ac- 
cording to ancient records, this theatre 
could receive thirty thousand spectators, 
but from the existing remains this is 
clearly an exaggeration. 

Theatre of Pompey, built by the 
great Pompey, and completed in 52 B.C. 
It was the first theatre built of stone in 
Rome ; the seats and architectural adorn- 
ment of the interior were of marble, and 
the exterior arches, whose lower tier was 
ornamented with engaged Tuscan col- 
umns, of travertine. It could hold forty 
thousand people. Much still remains of 
this theatre, though for the most part con- 
cealed by modern houses. At the back of 
the stage-structure was the splendid Por- 
tico of Pompey, with several parallel 
ranges of columns surrounding a court. 



428 



EOME 



and adjoining this was the Curia of Pom- 
pey, in which the Senate met, and where 
Caesar was murdered. 

Thermae of Agrippa, the first of the 
great public baths of Kome, opened in 21 
B.C. Tliey were situated immediately be- 
hind the Pantheon, were very large and 
splendidly ornamented, and were supplied 
with water by the aqueduct of the Aqua 
Virgo, also built by Agrijijia. These 
thermae survived in great part down to the 
early xvi cent., but what little is now left 
is for the most part masked by modern 
houses. In 1881-8'-i a row of houses built 
beliind the Pantheon was removed, and 
important remains of the great hall of the 
thermte were exposed. . It was ornamented 
with fluted columns of pavonazetto marble 
and witli an entablature of Peiitelic mar- 
ble, including a frieze sculptured Mith 
dolphins and tridents. Part of the entab- 
lature has been replaced in position. The 
hall was encrusted and paved with beauti- 
ful marbles, and an apse for a statue was 
added by Hadrian on the side toward tlie 
Pautlieon. Tlie theory once cntertaiued 
tliat tlie Pantheon was connected with the 
therniEB of Agrippa is now rejected. 

TiiERMyE OF Caracalla, one of the 
most sumptuous foundations of Roman 
imperial luxury, still im})osing in its utter 
ruin. The main central structure, includ- 
ing the l)atlis and tlieir immediate acces- 
sories, was completed by Caracalla in 210 
A.n. ; the outer court, about 1,100 ft. 
s((ua,re. with its porticoes, exedras, sta- 
dium, gardens, etc., was added by Helio- 
gabalus and Alexander Severus. The great 
central hall of the baths, once the tcpida- 
rium or warm bath, was a noble room ISO 
ft. by 72 ft., covered witli groined vaulting. 
The caldariuin or steam-l)ath was a ro- 
tunda IGO ft. in diameter. The decora- 
tion of the wliole. witli precious marbles, 
alabaster, mosaics, wall - paintings, and 
sculptures, was of the most lavish charac- 
ter. The athlete mosaic of the Lateran 
came from the palajstra of these therm*, 



and here were excavated in the xvi cent, 
the famous Farnese Bull, Farnese Her- 
cules, and Farnese Flora, and over one 
hundred other pieces of ancient sculjDture. 

THERii.T3 OF Diocletian", between the 
Viminal and the Quirinal, dedicated 305- 
306 A.D. The architect Palladio took the 
plan of the remains in the days of the Ee- 
naissance ; now but scanty fragments sur- 
vive, in brick masonry, besides the mod- 
ern church of S. Bernardo, together with 
the splendid central hall, which, as adapt- 
ed by Michael Angelo, constitutes the pres- 
ent transept of Hta. Maria degli Angeli. 
This hall is about 200 ft. long, 95 ft. high, 
and 79 ft. wide ; it is covered by thi-ee 
superb groined vaults, whose imposts are 
received by eight columns of red sj'enite 
with monolithic shafts 38 ft. high, to 
whicli their Corinthian and Comj)osite 
capitals add G ft. The ancient bases are 
buried 7 ft. beneath the raised modern 
2)avement. The lighting is managed by 
windoM's high in tlie lunettes of the 
vaults. Despite the disfigurement of mod- 
ern decoration, this noble hall is highly 
impressive. It exerted a profound influ- 
ence vipon the architecture of the Re- 
naissance. At each angle of one side of 
the enclosure which surrounded the cen- 
tral buildings was a circular domical build- 
ing resembling a small Pantheon. One of 
these is still essentially perfect, and since 
1598 has served as the church of S. Ber- 
nardo alle Terme. The opening at the ver- 
tex of its dome is covered by a modern lan- 
tern. About half the opposite rotunda is 
still standing. 

TiiERM.E OF Titus, a very extensive 
public bathing establishment, hastily built 
by Titus immediately after the dedication 
of the Colosseum, in 80 a.d. It was built 
over the remains of Nero's Golden House, 
portions of which still exist in its sub- 
structions. The only part excavated is a 
piece of one side of the enclosure, consist- 
ing of nine parallel vaulted corridors 
bounded by a curved line. These may rep- 



439 



ROME 



resent the foundations of a theatre. Be- 
neath, a series of seven rooms belonging 
to Nero's palace is accessible, together 
with other remains of some extent. These 
rooms were opened in Raphael's day, and 
served as example and inspiration for 
mnch of the Renaissance of the xvi cent. ; 
their decoration with wall-paintings and 
grotesques and other ornaments in stncco 
was much admired by him. Afterward 
they were closed again, and were reopened 
by the French in the beginning of the 
present century. Parts of the wall-paint- 
ing still remain, in an excellent style, re- 
sembling the best of that at Pompeii. 

Tomb of Oaius Cestus. See Pyra- 
mid. 

Tomb of CiECiLiA Metella, daugh- 
ter of Q. Metellus Creticus, and wife of a 
Orassus, perhaps Cgesar's qneestor. It is a 
massive round tower 97 ft. in diameter, 
rising from a triangular basement, faced 
with beautiful ashlar of travertine, and 
girdled beneath the cornice by a hand- 
some marble frieze sculptured with bu- 
crania and garlands. The summit of tlie 
monument now bears a battlemented 
medieval fortification. The grave-cliam- 
ber, now ruinous, had a conical vault. It 
is probable that the original termination 
of the monument was domical. 

University. See La Sapienza. 
-^ The Vatican, the official residence of 
the popes, and seat of tlie papal govern- 
ment, may be said to consist of two dis- 
tinct masses of building, occupying the 
slope of the hill at the foot of wliich 
stands St. Peter's, and connected by two 
narrow parallel galleries about 1,000 ft. 
long and 240 ft. apart, themselves con- 
nected about the middle of their length 
by two cross-galleries which divide the en- 
closed space into two rectangular courts 
of nearly equal size. Of these two masses 
of building, the one to the south is prop- 
erly the palace of the Vatican, and con- 
nected with the great basilica of St. Peter ; 
that to the north, originally a garden- 



house of the jjopes, and of no great ex- 
tent, still retains its early appellation of 
the Belvedere. Both of these great divi- 
sions are composed of an immense number 
of halls, chapels, galleries, state apart- 
ments, staircases, courts, and private ajiart- 
ments of enormous extent, dating from 
various ages, the work of successive popes, 
and whose arrangement, determined for 
the most part without reference to any 
general or comprehensive scheme, will be 
best understood by reference to the accom- 
panying plan. The principal entrance is 
by the Scala Regia, a magnificent stair- 
case built by Urban VIII., about 1630, 
from the designs of Bernini, which opens 
from the south end of the great western 
vestibule of St. Peter's, and is also a con- 
tinuation of the north arm of the enclos- 
ing colonnade of that church. The stair- 
case is divided into two runs, the first 136 
ft. long, rising about 29 ft. ; the second 
nearly 80 ft. long and rising 18 ft. The 
first run is built in false perspective, di- 
minishing as it rises, to increase its appar- 
ent length, from a width at the bottom of 
about 26 ft. to about 16 ft. at the top, and 
flanked by an order of detached Ionic mar- 
ble columns bearing a ramping entabla- 
ture, which with its deeply panelled bar- 
rel-vault also diminishes. This staircase 
leads to the Sala Regia, a rectangular 
hall built by Antonio Sangallo about 
,1540, and serving chiefly as an ante-room 
to the Pauline and Sistine chajDels, which 
open from it ; the former built at the 
same time, by the same architect, the lat- 
ter some seventy years earlier, by Baccio 
Pintelli. The Sistine Chapel is a simple 
rectangular hall about 130 ft. long and 44 
ft. wide, with a flat ceiling connected with 
the walls by a cove broken by lunettes. 
Its plain walls are pierced above by six 
arched windows on each side, the space 
below being divided horizontally into two 
bands, the upper containing a series of 
great frescoes by Perugino, Luca Signo- 
relli, Sandro Botticelli, and other masters 



430 



EOME 



of the XV cent. ; the lower, intended orig- 
inally to be covered by the tapestries 
made from Kaphael's cartoons, but now 
painted in imitation of drapery. The 
ceiling and one of the end walls are cov- 
ered with tlie frescoes of Michael Angelo, 
from which the supreme interest of the 
chapel is derived. From the opposite 
side of the Sala Eegia opens the long Sala 
Ducale, some 30 ft. wide and 13G ft. long, 
built from the designs of Bernini, with 
plain walls but a coved ceiling magnifi- 



museum and the pontifical palace, the 
three others consisting each of an arcaded 
order of columns, Doric, Ionic, and Corin- 
thian, respectively. All the arcades are 
profusely decorated with frescoes, but those 
of one side on the third story are celebrat- 
ed as the Loggie of Eaphael, being adorned 
with frescoes of scriptural subjects cover- 
ing the vaults of the ceiling, and with ara- 
besque paintings and stucco reliefs on the 
pilasters, of the utmost delicacy and 
beauty, executed from Raphael's designs 




"»« 



li If '■ fe 



Jt — B I iri I Jk^o^j^ 



1. Scala Regia. 

2. Sala Regia. 

3. Sistine Chapel. 

4. Sala Ducale, 

5. Court of S. Damaso 

6. Court of Pal. of Sisto V. 



Fig. 203.— Rome, Vatican. 

7. Appartamenti Borgia. 12. Garden of La Vigna. 

8. Museo Lapidario. 13. Museo Chiaramonte. 

9. Library. 14. Smaller Court of Belvedere 

10. Braccio Nuovo. (Museo Pio Clementine). 

11. Great Court of Belvedere. 15. Sala delle Statue. 



16. Sala degli Animali. 

17. Sala delle Muse. 

18. Rotonda. 

19. Egyptian Museum. 

20. St. Peter's. 



ccntly decorated with frescoes by Loren- 
zino da liologna, and forming a gallery of 
conimuiucation between the great stair- 
case with its adjacent chapels, and the 
residence portions of the palace, which 
surround the Cortile delle Loggie, called 
also the Court of St. Damasus. This 
court, begun about 1510, from the designs 
of Bernini, and finished after his death by 
Raphael, is an irregular quadrangle about 
310 ft. by 14G ft., surrounded on three 
sides by four stories of building, the low- 
est a simple arcade with entrances to the 



and under his suiiervision by his pupils. 
The arcades were long open to the weather, 
and the pictures had suffered great injury 
before the openings were closed by glass 
in 1S13. From the end of this gallery 
opens a suite of four square rooms, origi- 
nally a portion of the official apartments of 
the popes, and of which, by command of 
Julius II. and Leo X., the walls and ceil- 
ings were painted in fresco by Raphael 
and his successors. The work was execu- 
ted between 1508 and 1520, and the rooms 
have since been known as the Stanze of 



431 



EOME 



Eapliael. The buildings to tlie east and 
north of the court of St. Damasus, sur- 
rounding tlie small court of Sixtus V., are 




Fig. 204. — Rome, Va-tican, Hall of Statues in the Belvedere. 

occiipied by the private a]3artments and 
offices of the pope and his household. 

The remainder of this vast group of 
buildings, those namely at its northern 
extremity known as the Belvedere, with 
the long galleries connecting them with 
the buildings at the southern end, and 
the two transverse galleries dividing the 
great court, are entirely given up to the 
immense and varied collections of sculjot- 
ure, antiquities, books, and manuscripts 
which are known as the Museum of the 
Vatican. At its principal entrance near the 
]Sr. W. angle a fine staircase of marble, 
ojoening from a vestibule in the form of a 
Greek cross, leads to a hall of similar shape 
called the Sala a Croce Greca, and this 
again to the Eotonda, a great circular 
hall 60 ft. in diameter, built by Pius VII. 
from Simonetti's designs, to receive the 
great porphyry vase or tazza, 15 ft. in di- 



ameter, found in the Baths of Titus. 
The hall is surrounded by semicircular 
niches containing statues, in the intervals 
of an order of Corinthian j)ilasters, over 
which is a range of semicircular windows, 
and is covered by a coiiered hemispherical 
dome. The centre of the floor is an an- 
cient mosaic found at Otricoli, in 1780. 
The Sala delle Muse (Hall of the Muses), 
a noble gallery in three compartments 
divided by couj)led Corinthian columns of 
marble, connects the Rotonda with the 
galleries surrounding the Cortile or inner 
court of the Belvedere. This court, built 
originally by Bramante, which may be re- 
garded as the central point of the Museum, 
forms a square of about 70 ft., surrounded 
by a vaulted corridor some 16 ft. wide, 
opening from the court through the inter- 
vals of an Ionic order, the angles of the 
square cut off, and those of the corri- 
dor occupied by four cabinets, three of 
which are devoted to the most precious 
examples of Greek scu]j)ture, the Laocoon, 
the Apollo, and the Antinoiis or Mercury, 
the fourth being occupied by the Perseus 
of Canova. The court is enclosed on two 
sides by the Hall of Animals and the long 
Gallery of Statues. The halls and galler- 
ies thus far enumerated constitute what is 
known as the Museo Pio Clemen tino, from 
the two popes, Pius VI. and Clement 
XIV., who founded it, and by whom the 
halls Avere for the most part built and 
filled. On the N. E. angle of the Belve- 
dere is a square tower containing a circu- 
lar staircase of remarkable construction, 
designed by Bramante. It is about 27 ft. 
in diameter, with a spiral ring of Doric 
columns with entablatures carried from 
bottom to top, a height of something over 
50 ft., around an inner circular well 13 ft. 
in diameter. Prom the soutliernmost of 
an irregular suite of rooms flanking the 
Cortile on the east, a broad stair descends 
to the long gallery of the other great di- 
vision of the Museum, called the Museo 
Chiaramonti, from the family name of its 



432 




PIS TOIA - CA THEDRAL SQUARE 



ROME 



founder, Pope Pius VII., wliich occupies 
the half of one of the great galleries that 
connect the Belvedere with the southern 
portion of the palace, from the middle of 
which the newest addition to the build- 
ings, known as the Braccio ISTuovo, is car- 
ried across the court. This fine hall, be- 
gun in 1817 and finished in 1822, from the 
designs of a German architect, Rafael 
Stern, is about 26 ft. wide and 235 ft. long, 
and nearly 40 ft. high, covered by a pan- 
elled barrel-vault, the walls on each side 
lined with a series of sixteen niches, the 
centre marked on one side by a square 
projecting bay, and on the other by a 
semicircular tribune 26 ft. wide. The 
gallery is lighted from above, and contains 
many of the most remarkable examples of 
Greek art. Crossing the great court par- 
allel with the Braccio Nuovo, but at a 
somewhat lower level, is the Library, built 
under Sixtus V., in 1586, by Fontana. It 
is a hall 46 ft. wide and 235 ft. long, 
lighted by seven windows on each side, 
and divided by a lino of massive square 
piers in the middle of its breadth, the ceil- 
ing on each side being divided into groined 
bays and painted in the liveliest style 
with arabesques and views in fresco and 
figures in the Pompeiian manner. The 
books and MSS. are contained in closed 
cases, which, as Avell as the piei's. are paint- 
ed in a style similar to that of the ceiling. 
Tlie collections of the library have, since 
this hall was built, overflowed into the 
long western gallery flanking the great 
court, of which they now occupy the 
whole length of one story. [See Figs. 
203, 20 Jf.)" 

The history of the Vatican begins as far 
back as the reign of Constantine. M'ho 
built a palace contiguous to the old basil- 
ica of St. Peter for the residence of the 
clergy connected with the church, in wliich 
Charlemagne is said to have lived for a 
time at the period of his coronation by 
Leo III. The early buildings disappeared 
during the disturbances of the middle 



ages, and the oldest portions of the pres- 
ent palace probably date from the middle 
of the XII century. It was enlarged by 
successive popes, notably in 1278, 1447, 
and 1471, but did not become the papal 
residence until after the return of the 
popes from Avignon, in 1377. During 
the stormy periods of the xiv and xv 
cents., it was connected by a walled and 
covered passage with the Castle of St. 
Angelo, which had by that time been con- 
verted into a strong fortress. The Belve- 
dere was built by Innocent VIII. and 
Alexander VI., between 1484 and 1504, as 
a villa. It was then separated from the 
Vatican by a rough hillside. Julius II., 
early in the xvi cent., conceived the plan 
of uniting the two buildings, and a com- 
l">rehensive and magnificent jiroject was 
devised by Bramante, of which, though it 
M'as never completely carried out, the 
drawings remain, and wliich contemplated 
a single unbroken court, more than 1,000 
ft. long and 250 ft. wide, stretching from 
the old palace to the villa ; the slojie of 
the land corrected by a stately terrace 
midway, with two ranges of steps ; the 
sides of the courts lined with three stories 
of arcades, the southern end made into a 
theatre, with ranges of curving seats rising 
one abo^-e another, from which to witness 
games and tournaments in the lower court ; 
and the northern end closed by the new 
fagade of the Belvedere with a great vault- 
ed exedra or niche in the middle. The 
connecting galleries forming the sides of 
the court were built partly under Bra- 
mante, and 2>aTtly after his death, by San- 
gallo, Pernzzi, and other architects, and 
tlie great exedra still suggests the splen- 
dor of the intended effect, which, how- 
ever, was destroyed by the building, in 
1586, of the Library across the middle of 
the courts. (See also ViUa Pia. ) 

ViGKA ni Papa Git"lio. See ViUa 
(li Papa GiuUo. 

The Villa Albaxi, one of the most 
important and interesting of the great 



433 



EOME 



suburban villas, lies on the northern edge 
of the city just outside the Porta Salara, 
and in the midst of very extensive 
grounds, laid out with the formal and 
elaborate art of the xviii century. The 
principal building consists of a long 
casino with a central division two stories 
in height, and wings of one low story ex- 
tending on either side, the entire length 
being about 260 ft. The outer elevation 
is plain and without openings, the wall 
being divided by pilasters and having a 
projecting entrance porch in the centre. 
The garden front has on the first story an 
open Palladian arcade of nine arches in 
the centre and seven lower on each side, 
enclosed in an order of rustic Ionic pi- 
lasters. The second story of the centre 
has an order of Corinthian pilasters on a 
high pedestal-course, with pedimented 
windows in the intervals, small round 
mezzanine windows above, and a balus- 
traded cornice. At the extremities of 
the wings are porticoes, one with antique 
caryatids and the other with marble col- 
umns. Separated from the casino by a 
broad parterre is a semicircular open ar- 
cade about 90 ft. in diameter, at the centre 
of which is a small square pavilion. The 
works of the villa were begun about 1746 
by Cardinal Alexander Albani, the cardi- 
nal himself directing the design, which 
was executed under his own supervision 
by Carlo Marchionni. The grounds were 
laid out by Antonio NoUi, and are remark- 
able for the great number of statues, bas- 
reliefs, vases, and other remains of an- 
cient art with which they are judiciously 
decorated. The interiors were adorned 
by Eaphael Mengs, the ceiling of the 
principal gallei'y having been painted en- 
tirely by him. The casino contained orig- 
inally what was doubtless the most exten- 
sive and valuable private collection of 
ancient sculpture in existence, being siir- 
passed in importance only by the galleries 
of the Vatican and the Capitol. But the 
greater part of the collection was stolen 



by Napoleon, who carried off nearly three 
hundred statues and bas-reliefs, which 
having been, after the peace of 1815, re- 
stored to the cardinal, were sold by him to 
the king of Bavaria and naw form part 
of the royal collections at Munich. 

The Villa Bokghese lies on the 
northern edge of Eome, its entrance being 
just outside the Porta del Popolo, and its 
grounds, which are of immense extent, are 
bounded on one side by the city walls. 
They include many buildings of various 
kinds, of which the most im]Dortant is the 
great Casino or residence, built in 1605, for 
Cardinal Scipione Borghese, from the de- 
signs of Hans von Xantere, called Giovanni 
Vasanzio, a Fleming. It measures about 
140 ft. in length and 130 ft. in dejDth, and 
is in two stories with a five-arched vault- 
ed entrance vestibule in the centre of its 
main (garden) front, over which the wall 
is recessed and carried uji two stories. It 
was much altered during the xviii cent., 
when under the direction of Canina it 
was converted into a series of galleries for 
the remarkable collection of ancient 
sculj^tures belonging to the Borghese 
family. The gardens were laid out by 
Sabino of Montepulciano. The grounds 
are now freely used by the public. 

The Villa Doria Pamfili, lying a 
little distance outside the Porta S. Pan- 
crazio, on the west of Kome, is one of the 
largest and most beautiful of all the 
suburban villas which surround the city, 
the circuit of its grounds measuring 
about four miles. The Casino is a square 
building of no great size, standing on the 
side of a large rectangular sunken par- 
terre of formal arrangement, with exten- 
sive gardens before and behind. It is of 
two stories, decorated each with an order 
of Corinthian ^^ilasters with pedimented 
windows and niches in the intervals, and 
with a high attic above. The fagade 
toward the parterre has an additional 
basement story Avitli an arched loggia. 
The casino was built by Algardi about 



434 



EOME 



1650 ; the grounds Avere laid out by Al- 
gardi and Antinori. 

Villa Fakis^esixa. See Palazzo Far- 
nesina. 

Villa of M.ecexas. See Aialitorium 
of Jlceceiias. 

The Villa Madama occupies a com- 
manding site on the eastern slojie of 
Monte Mario, a mile and a half N. W. 
from Eome. It consists of a casino of 
moderate size, raised on a high basement, 
of which the principal feature is a lofty 
open loggia of three round arclies, faced 
with an order of Ionic pilasters which is 
continued around the building. This 
loggia, which opens from the extremity of 
an elevated bridge-like terrace, is vaulted, 
and its walls and ceilings are famous for 
their decoration by Giulio Romano and 
Giovanni da Udine. The remaining por- 
tion of the casino is in two stories, and 
presents nothing remarkable. In the rear 
is a finely conceived semicircular court 
which remains incomplete. Tiie villa was 
built early in the xvi cent, for Cardinal 
Giulio do Medici, afterward Clement VII. 
Kaphael furnished the designs, which were 
carried into execution with alterations by 
Giulio Romano. It was never finished 
and has long been in a ruinous condition. 

Tlic Villa Mkdici, one of tlie most 
familiar of the Roman villas, occupies a 
commanding site on the Pincian Hill, 
standing in the midst of extensive grounds 
adjoining the public pleasure grounds of 
the Pincian, and bounded on one side by 
the city walls. The principal building is 
a rectangle of about 37 ft. by 85 ft., with 
an entrance front of simple design in two 
stages, each with a principal and mezza- 
nine story ; and a jjicturesque and dis- 
orderly fa9ade toward the garden, popn- 
lai'ly ascribed to Michael Angelo, with a 
centre and two slightly advancing wings, 
the centre having on the ground-floor an 
open loggia with a high middle arch, and 
an upper story with three windows M'ith 
pedimented caps. This central division is 



flanked by two square towers. The whole 
fa9ade is adorned with ancient bas-reliefs, 
architecturally disposed in panels. Prom 
the extremity of the casino a long gallery 
projects at right angles with it, containing 
a fine collection of ancient sculpture. The 
villa was begun about the middle of the 
XTi cent., by Cardinal Giovanni Ricci da 
Montepulciano, and finished somewhat 
later from the designs of Annibale Lippi. 
It was ceded to the French Government in 
1802, and became the home of the French 
Academy, at which the students sent to 
Rome by the Ecole des Beaux-Arts at 
Paris pursue their studies. 

Villa di Papa Giulio, the villa of 
Pope Julius III., on the Via Flaminia, 
about a mile outside the Porta del Po2:)olo, 
though now in a neglected and decayed 
condition, is still one of the most interest- 
ing, as it was originally one of the most 
sumptuous and elegant, of the pleasure- 
houses of Italy. It was begun early in 
the XVI cent., by Cardinal di Monti, and 
was continued by his nephew, also a car- 
dinal, who became pope under the name 
of Julius III. It stands in the middle of 
an extensive estate known as the A'igna 
(vineyard) di Papa Giulio, about 400 
yards from the Via Flaminia. At the 
corner of the way by which the villa is 
approached is a casino, also built by Vig- 
nola, with a singular jjlan — open arcades 
in the first story partially surrounding a 
hexagonal court, and a great staircase as- 
cending to the second, which contains a 
suite of apartments decorated with much 
beauty. The faQade presents below a 
blank wall with an arched doorway in the 
centre, of rustic masonry enclosed in a 
portico of columns. Above is an open 
loggia with square windows on each side. 
The corner is cut oif, and makes room for 
a fountain enclosed in a central arch with 
two orders of pilasters. The plan of the 
villa itself is at once picturesque and 
stately. A great corps-dc-hgis fronts the 
road, and behind it are two high-walled 



436 



EONZANO 



open courts, front and rear, separated by 
a second range of buildings, and closed in 
the rear by a third. The finely propor- 
tioned fa9ade has a length of nearly 150 
ft., with receding ends. Each story has a 
central composition of columns and pi- 
lasters, of rustic work in the first story, 
and on each side square-headed windows 
in both stories, carrying a full entabla- 
ture and pedestal-course between the sto- 
ries and a double - modillioned cornice 
under the roof, all designed with finely 
elaboraled and elegant details. The front 
of the first and larger court, 90 ft. by IGO 
ft., is semicircular, and bordered by an 
open vaulted loggia in horseshoe form on 
the ground-floor, above wliich is a range 
of apartments connected with those in the 
facade. Two orders of pilasters and an 
upper range of windows continue the 
composition of the fagade round the semi- 
circle. The loggia is treated with a row 
of small Corinthian columns in the inter- 
vals of the i^ilasters, carrying a horizontal 
architrave, and only interrupted at the 
ends and in the middle by great arches. 
The high side-walls of the court are archi- 
tecturally decorated with a blind arcade 
under an Ionic order, with an attic above. 
The second and smaller court drops con- 
siderably below the first, and from the 
open loggia that separates them a quad- 
rant staircase leads down on either hand, 
repeating the lines of the upper court ; 
while in the middle of the pavement is 
sunk a semicircular nymphgeum, guarded 
by a balustrade aud surrounded by pilas- 
ters and caryatids, between which are 
niches where water flowed continually into 
a series of basins. At the back of the 
court is a vaulted grotto, and above it 
a cross-gallery broken by a triumj^hal ai'ch 
which leads to a walled garden, terraced 
above the level of the first court. The in- 
terior decoration of the principal building 
is of great richness ; the vaults of the ar- 
cades are painted with arabesques, birds, 
and figures, and the walls are divided into 



panels with similar decoration. Near by, 
on the same estate, stands Julius's votive 
Chapel of S. Andrea {q. v.). 

Villa Pia,. an elaborately designed 
pleasure-house in the gardens of the Vati- 
can, of which the buildings are disposed 
round an elliptical court on the slope of 
a hill. At the front is a pavilion, con- 
sisting of an open vaulted loggia about 33 
ft. wide and 40 ft. long, on a level with 
the court, and a basement fronting the 
grounds and adorned with fountains and 
statues, on either side of which a curving 
staircase leads to the level of the court, 
which is entered at each extremity through 
a small pavilion in the form of a temple. 
The court is about 85 ft. long and 65 ft. 
wide, paved with mosaic, with a fountain 
in the middle, and surrounded by a 
high panelled wall lined with continuous 
benches of marble. On its fourth side 
stands the casino, with a faQade about 40 
ft. long, in three stages, the first with an 
open entrance loggia decorated with mo- 
saics, bas-reliefs, and stucco arabesques. 
The whole front is also lavishly adorned 
in the same manner. The building has a 
depth of some 80 ft. and occupies a level 
rectangular terrace in the hillside, en- 
closed by a high wall decorated with 
niches containing statues. The apart- 
ments are sumptuously decorated with 
paintings, sculjDtures, mosaics, and frag- 
ments of ancient art. The villa was built 
in 1560 for Pius IV., from the designs of 
Pirro Ligorio. 
RONZANO, Italy. 

Sta. Makia belongs to the small group 
of primitive Romanesque churches in this 
part of the Abruzzi. Its ground-plan is 
basilical with three apses, its style broad 
and simple. The nave consists of high 
recessed round arches supported on piers 
so grouped as to sustain primitive groin- 
vaults which at some time fell in and 
have been replaced by a wooden roof ; the 
upper part of the outer wall was then re- 
built. The piers and arches consist of 



436 



EUVO 



very white stone. The transept retains 
its three groin -vaults with very heavy 
torus ribs in tlie central compartment. 
High triumphal arches open out from 
this compartment. As the style of the 
church points to the close of the xi or 
beginning of the xii cent., and as a docu- 
ment of 1183 speaks of it as already in ex- 
istence, it is interesting to note the use of 
groined vaults, which at this period, in this 
region, is most unusual. It is probably 
due to Lombard influence. [A. L. F., 
Jr.] 
EUVO, Italy. 

The Cathedral (Sta. Maria Assunta) 
is a small rectangular basilica, rebuilt 
near the beginning of the xii cent., about 
100 ft. long and 65 ft. wide, the high 
nave sejiarated from the aisles by five 
round arches on each side springing from 
square piers, with half columns on three 
sides, while on the faces toward the nave 
vaulting shafts were added, although the 
nave remains ceiled with wood. Over the 
arcades runs a decorated string-course on 
strong sculptured corbels, on wliich is a 
range of grouped windows divided by col- 
umns and covered by a flat elliptical bear- 
ing-arch, evidently to light an upper aisle 
which does not now exist. Above is a 
range of smaller single clerestory windows 
blocked up. Tlie aisles are groined in 
square bays separated by transverse arches, 
and from each bay opens a shallow rectan- 
gular chapel, also groined. T'lie broad 
transept has a wooden ceiling like the 
nave, and crosses the whole church in 
three equal bays, with three eastern apses. 
The facade is of unusual outline, the cen- 
tral nave gable being very narrow in pro- 
portion to the rest, and the half gables 
covering both aisles and chapels. There 
are three doors, under throe blind arches, 
an ellipse between two pointed arelies. 
The middle door has a broad, heavy round 
arch, with flanking columns standing on 
the backs of lions and bearing griffins, 
and is surrounded by four sculptured 



bands of more or less Byzantine character. 
The nave gable is filled by a large and 
fine wheel window, over which is a round- 
headed niche containing a seated figure, 
and beneath is a two-light Avindow en- 
closed by a round bearing - arch. The 
cathedral is the rebuilding, begun in 1060 
and finished in 1110, of an older church 
dating probably from the end of the viil 
century. 
liUWEIHA, Northern Syria. 

The Church, probably of the vi cent., 
is curiously different from the usual 
Syrian type. It stands apart in a walled 
enclosure like a peribolos, some 185 ft. by 
320 ft., and is of considerable size, being 
150 ft. long and 60 ft. wide. It has an 
open narthex or porch, entered by a very 
broad central arch between two small 
ones, a nave and aisles, and an apsidal 
sanctuary between two chambers, as usual 
in Syria, covered by a straight wall. The 
nave, of .'30 ft. sjoan and 100 ft. long, is in 
only three bays, with great arches borne 
on piers which are bound together in 
pairs by two other great arches springing 
across the nave, as in S. Miniato at Flor- 
ence, and some other Italian churches, and 
resting on fluted pilasters against the 
sides of the piers. On each flank are two 
doors into the aisle, covered by porches 
which rest on pairs of columns. There 
are two interesting tombs in the enclos- 
ure. One is a square building containing 
a sqv^are chamber with arcosolia on each 
side, through one of which it is entered, 
and covered with a si^herical dome. Over 
the door is a porch standing on two de- 
tached columns, and Corinthianesque i^i- 
lasters mark the corners of the building. 
The other tomb is a small temple with a 
recessed portico of two columns in antis. 
It stands on a high basement, and is in 
two stories. 
SAGALASSOS (Aglasoun), Asia Minor. 

CoRiNTHiAJf Temple, within a large 
enclosure bordered with porticoes and 
exedras. The temple is peripteral, hexa- 



4S7 



SALERNO 



style, with eleven columus on the flanks, 
raised on a basement, and with four steps 
between projecting jDiers in front. There 
was a second row of columns before the 
pronaos, which has two columns in antis 
and is very deep, the front wall of the 
comparatively small cella being placed op- 
posite the two middle columns of the peri- 
style. The decoration is rich and well 
executed ; the soffits are sculptured with 
a scroll-ornament, and the frieze and the 
iippermost member of the cornice with 
spiral foliage-patterns. The cornice has 
lion-heads for water-spouts. The temple 
measures in plan Slg ft. by 94 ft. 

Theatre, supported against the hill- 
side, but in large part built up with 
vaulted substructions. The plan is much 
greater than a semicircle. There is one 
precinction or horizontal passage, with 
twenty-four tiers of seats below it, and 
sixteen above it, and a podium on its in- 
ner side, in the Eoman fashion. There 
are nine radial stairways, in- 
cluding those at the extremities, 
in the lower division. They are 
doubled in the upper division, 
but not continuous. There was 
probably a portico above the up- 
per division. The stage-structure 
formed a long, narrow hall with 
five doors, only three of which 
appear to have opened on the 
stage. The depth of the stage 
was 24 ft. The diameter of the 
theatre is 288 ft., that of the or- 
chestra 75 ft. The remains are 
in comparatively excellent pres- 
ervation. 

There are other remains of 
much importance on the site, in- 
cluding a palaestra (?), a small circular 
temple, a street bordered with porticoes 
and spanned by a monumental struct- 
ure at its intersection with another 
street, and several necroi^olises. There 
are scanty remains of the ancient fortifi- 
cations. 



SALEENO, Italy. 

The Cathedral, originally dedicated 
to the Virgin but afterward to St. Mat- 
thew, whose body is said to have been 
brought here in 954, is a fine xi cent, 
church, consecrated in 1084, which was, 
however, so changed by a practical re- 
building in the xviii cent., that much of 
its interest has disappeared. ' The great 
quadrangular fore-court which precedes 
the church is j) reserved. It measures 
about 113 ft. by 102 ft. and is surrounded 
by vaulted arcades, with round arches 
supported on ancient columns of various 
kinds of marble, taken partly from the 
ruins of Ptestum and partly from those of 
Eome. Behind the eastern arcade rises 
the plain fa9ade, with a low pediment in 
the centre and half gables at the sides. 
Under the arcade three doorways give ac- 
cess to the nave and aisles, the middle one 
closed by fine bronze doors from Constan- 
tinople, given to the church in 1099. A 




Fig. 205.— Salerno, Cathedral Pulpit. 

square tower rises on the south side of the 
church, in several stages, the lower of 
which belong to the early construction, 
perhaps dating from 1130. The interior 
consists of nave and aisles of seven bays, 
and transept, and three eastern apses. In 
1722 square piers replaced the original 



438 



SALONA 



columns, and the interior was travestied. 
The crypt is remarkable for the richness 
of its decoration ; the vaults, supported 
on square piers whose faces are inlaid with 
precious marbles, are covered with paint- 
ings of figure subjects, and the walls with 
arabesques. It consists of three aisles, of 
eight bays each and three apses, under- 
lying the transept and choir. [See Fig. 
205.) 
SALONA, Dalmatia. 

Basilica. A Christian church of the 
V or VI cent., ruined at the destruction of 
Salona in 639, and only recently explored. 
Its plan is somewhat peculiar and not 
wholly intelligible. On the west was a 
narthex, and behind it a wide nave and 
aisles divided by arcades of nine arches, 
the columns of which stood on a continu- 
ous stylobate. Tlie nave and aisles abut- 
ted eastward against a tliick wall, pierced 
with five doors which led into a sort of 
transe^it witli an eastern apse. On the 
north side of the church was another aisle 
running the whole length, and opening 
by triple arclies into two apsidal chapels. 
Remains of similar cliapels are found in 
continuation toward the east, beyond the 
main church. In these chapels were 
found many fine sarcophagi, of which the 
most important arc now in the museum of 
Spalato. A small chamber in the eastern 
transept had a sepulchral vault beneath, 
with an outside entrance closed by a slid- 
ing stone door. i\Iauy tombs like tliis arc 
in and about the site of the basilica, and 
the excavations below the floor level have 
revealed a great number of sarcophagi and 
some older foundations, showing that the 
church was built upon an old Christian 
burying-ground and on the site of some 
more ancient building. The sculptured 
ornament found seems to prove it to be 
not older than the age of Justinian. 

An Octagonal Structl'RE, surrounded 
by a peristyle, the bases of whose columns 
remain in place, and enclosing a basin, 
is held to be a part of the thermae. A 



little beyond lie the remains of another 
building also with columns. The mosaic 
pavement is intact, and the sills of the 
doors are still in position. 

The RoMAiiT Walls of the city can be 
followed through much of their extent. 
There are two ancient gateways flanked by 
towers, and other towers are found along 
the circuit. On the west side long walls 
extend for over a mile on the road toward 
Trail ; they evidently joined the city orig- 
inally with some port having deeper water 
than that of Salona. They are built of 
very large blocks, rectangular and care- 
fully jointed, but rough faced. In the 
N. E. corner of the western part of the 
ancient city, in part engaged in the forti- 
fication-wall between it and the eastern 
part, are the remains of a Roman amphi- 
tlieatre, presenting the usual features. 
The structure is surrounded in the base- 
ment by a corridor, to which access is af- 
forded by several arched openings. Most 
of the seats have been carried away. To 
the right of the road from Spalato are 
seen the i-emains of the aqueduct which 
brought water to the palace of Diocle- 
tian ; it has been repaired and still serves. 
An ancient bridge on this same road, 
crosses the Giadro (ancient lader). 
SALON ICA (Saloniki, Thessalonica), 
Turkey. 

Apostles' Church. This is in plan 
essentially like its neighbor Sta. Sofia 
((/. r.), though much later in date, but its 
ceiitral dome is carried on columns instead 
of piers, and its aisles are in one story. 
The original narthex remains, however, 
crossing the front as an open porch with a 
singular triple arch on each side the cen- 
tral door. The central dome, of 53 ft. 
span, stands on a tall octagonal drum, 
arcaded on the outside and windowed. 
Similar smaller domes rise over the cor- 
ners, and the Turks have added a slender 
minaret. The stjde is that of the vii 
cent., or later. 

The I:ncantada, so-called, is a Corin- 



4-S9 



SALONICA 



thian monument of uncei'tain purpose. 
It has been variously explained, as a monu- 
ment of victory, as tlie entrance to a 
theatre, hippodrome, or forum, as part of 




Fig. 206.— Salonica, St. Demet 



a basilica like the so-called Tutelles at 
Bordeaux, and as a funeral monument like 
the mausoleum at Mylasa. Local tradi- 
tion calls it a gallery which connected two 
palaces of Alexander, and ascribes its con- 
struction to magic, whence its Spanish 
name (Las Incantadas). The remains are 
in the Jewish quarter of the city, and con- 
sist of five monolithic Corinthian columns 
of cipollino with an entablature of Pentelic 
marble. The frieze is bulging and carved 
with rods ; the cornice has Ionic dentils, 
and above it there is an attic adorned 
with a series of standing figures. The 



design and execution of the reliefs and 
details are so good that it cannot be later 
than the age of the Antonines, 193 a.d. 
St. Baedias is a little abandoned brick 
church, built, according to an in- 
scription, in 937, on the common 
Byzantine plan of a Grreek cross 
set in a square, with barrel- 
vaulted arms, a central dome on 
four columns, and four small 
ones in the angles. The main 
dome has a windowed drum, oc- 
tagonal without ; there are three 
eastern apses, the middle one 
octagonal outside, and a narthex, 
of which the high upper story 
probably served as a women's gal- 
lery. 

St. Demetrius, now a mosque, 
is a very early five-aisled basilica, 
dating from the v or vi cent., 
and on a large scale, being very 
nearly 200 ft. long by 140 ft. 
wide. It has practically no ex- 
terior, but is hemmed in by the 
buildings about it. A cramped 
court, replacing the old atrium, 
and containing a basin for ablu- 
tions under an octagonal canopy, 
leads to a high narthex that 
opens by a triple arch into the 
west end of the nave. On the 
left of the narthex, in a small, 
square, crypt - like, and 
chamber, is the plain 
St. Demetrius, the so 



dome- 
brick 
called 



covered 
tomb of 

Myroblete, from whose body flowed the 
miraculous oil that has saturated the walls 
and floor of the chamber. The lining of 
marbles, and the ornaments of gold and 
silver set with precious stones, that once 
made the place splendid, are gone. The 
nave, almost 40 ft. wide, has an open- 
timbered roof about 70 ft. high to the 
ridge. It is bordered on each side by 
thirteen round arches, borne on compos- 
ite columns, and peculiarly arranged in 
three groups of four, five, and four, sepa- 



440 



SALONICA 



rated by square piers. If this arrange- 
ment is original, it is perliaps the earliest 
known example of the grouping of nave- 
arches, and may have led the way to the 
system of double bays in the Lombard 
churches. It has been assumed to be an 
accident here, due to successive lengthen- 
ings of tlie church, but it is absolutely 
symmetrical, and has all the appearance 
of studied design. Over the main arcade 
is a second, carried on Ionic columns, and 
opening into an upper women's gallery, 
or gyju'coeiim, over the inner aisles, which 
connects with the second story of the nar- 
thex. Above the two is a clerestory of 
low arched windows, grouped in twos, 
with intermediate shafts. The walls have 
been revetted with marl^le, perhaps in the 
XI cent., somewhat in the fashion of the 
cathedral at Pisa, and a curious simula- 
tion in mosaic of a modillion cornice is 
carried along above the lower arcade. A 
balustrade of carved marble panels fills 
the intervals of the upper columns. The 



like the prothesis and diaconicon of the 
early eastern churches, but enclosed by 
ojoen arcades instead of walls. The 
screens, however, which divide them from 
the choir have evidently been added or 
altered in the middle ages. All the col- 
umns are monoliths of white, red, or 
green marble, the capitals are admirably 
cut, and all carry stilt-blocks, which are 
marked with the monogram of Christ, or 
with the cross. The mosaics which once 
covered the conch of the apse have dis- 
appeared, and the marble lining of the 
church has suffered much. The building 
is said to have been further injured by a 
recent fire. {See Fig. 206.) 

St. Elias is a Bj'zantine church of pe- 
culiar plan, built apparently at the be- 
ginning of the XI century. It is a cross 
with short arms, three of them with apsi- 
dal ends, and a single central dome. Be- 
fore the western end is a great narthex, as 
broad as nave and transept, and 25 ft. 
deep, vaulted in six bays with four de- 








Fig. 207. — Salonica, St. George. 



outer aisle, lower anel broader than the 
inner, is like it divided into two stories. 
At the east end is a domed apse, and in- 
stead of a transept are two rooms placed 



tached columns. Over this hall is an 
upper tribune half as deep as the hall, 
and perhaps a women's gallery (though it 
has been thought that only men frequent- 



441 



SALONICA 



ed the churches of St. Elias), its front wall 
resting on the vault beneath. The dome 
is on a very high drum, polygonal with- 
out, arcaded and windowed, and is cov- 
ered by a low pointed and corrugated 
roof ; the three apsidal ends are also 
polygonal without and windowed. The 
church is of brick, with bands of lozenge 
and meanders. The whole church is about 
50 ft. by 90 ft., and the dome 65 ft. high. 

St. (xEOEge, called the Eotunda, and 
now used as a mosque, is a massive early 
round church, about 80 ft. in diameter in- 
side, and with walls nearly 20 ft. thick. 
It is covered by a hemispherical dome, 
rising to 86 ft. above the floor. In the 
thickness of the walls are eight square 
niches, those on the south and west serving 
as entrance porches, the rest as chapels, 
except the eastern, which is larger than the 
rest, and, piercing the wall, is continued 
into a deep sanctuary, or bema, ending in 
a round apse lighted by five windows. 
Eight windows over the niches light tlie 
building, and above them the wall, dimin- 
ished one-half in thickness, is carried up 
as high as the top of the dome, and bears 
a conical roof. The whole is severely 
plain, within and without, except that the 
dome and the barrel-vaulting of the niches 
retain in great part their splendid lining 
of mosaics, representing figures of saints 
and architectural backgrounds. The date 
of the church is uncertain ; it has been 
assigned to the iv, vi, and vii cents., and 
was even believed for a time to have been 
a Roman temple. {See Fig. 207.) 

Sta. Sofia, the former cathedral, now 
a mosque, was built, according to the 
Greek tradition, by Justinian, in imita- 
tion of its namesake at Constantinople, to 
which, however, it has no resemblance 
except in style, being in plan a Latin 
cross enclosed in a square, with a central 
dome borne on piers and a long eastern 
limb containing the sanctuary, and ending 
in an apse round within and semi-octag- 
onal without. The transept is short, and 



the square is surrounded on three sides by 
a wide aisle, whose second story is a wom- 
en's gallery, enclosing the nave and tran- 
sept in an outer square of 100 ft. Two 
small rooms, the usual prothesis and 
diaconicon, flank the main aj^se, and both 
end in round arises. Arcades in two 
stories, with columns quasi - Corinthian 
below and quasi-Ionic with high stilt- 
blocks above, divide the aisle from the 
centre. The dome and the main apse still 
preserve their original mosaics on a gold 
ground, well executed compositions repre- 
senting the Saviour, the Virgin, and the 
twelve apostles. The Turks have built an 
open porch across the front, with pointed 
arches on modern columns ; it is flanked 
on the south by a minaret, and on the 
north by a small bell-tower of uncertain 
date. A pulpit of verd-antique in the 
church is reputed to have been used by 
St. Paul. The building has been serious- 
ly injured by fire within a year or two. 

Triumphal Arch of Constaktine, 
half ruined, but described as one of the 
most remarkable ancient monuments sur- 
viving in the Orient. It is near the east- 
ern end of the long street which inter- 
sects the city from east to west, and pre- 
serves the line of the Eoman Via Ignatia. 
It is of brick encrusted with marble, and 
consisted originally of three doorways. It 
is ornamented with sculpture in which 
camels figure, and is believed to commem- 
orate Constantine's victory over Licinius 
or over the Sarmatians. 

VardIr GrATE, a Roman triumphal 
arch at the west end of the long street 
which intersects the city. It is built of 
large blocks of marble with reliefs on its 
outside face, and an inscription giving the 
names of city magistrates. The opening 
is now 12 ft. wide and 18 ft. high ; but a 
considerable part of the monument is 
buried. Some scholars have maintained 
that this arch was erected in honor of 
Octavius and Antony after the battle of 
Philippi, but it is evidently later. 



443 



SAMARIA 



SAMAEIA. See Sebaste. 
SAMOS, yEgean Sea. 

The Aqueduct of Eupalinos was con- 
sidered by Herodotus to be one of the 
greatest of Greek works. It begins at a 
point N. W. of old Samos, where now 
stand three small chapels called the Hagi- 
ades, and a coj)ious sj^ring still flows from 
the rock. It has been traced from an an- 
cient reservoir under one of the chapels 
for about 7,200 ft., into the heart of the 
old town, and probably extended to the 
shore of tlie port, near which in the agora 
there were in ancient times three note- 
wortliy water-clocks. Tlic most remark- 
able part of the aqueduct is the tunnel, 
wliich extends for over 3,000 ft., for tlie 
most part through solid rock, under the 
hill, 739 ft. higli, now called Kastro. Tliis 
averages G ft. square ; it was bored from 
botli ends siiiiultaueously, as is shown by 
the slight fault at the meeting, a little 
south of the middle, of the two portions. 
But for this (h'feot, the tunnel is perfect- 
ly straight. Through it extends a chan- 
nel about 2 ft. wide, increasing in depth 
from 6 in. to about 27 in. at its exit, and 
evidently cut to secure a better fall for the 
water. In it are still abundant remains 
of the earthen water-pipes, of which two 
kinds were used — one cylindrical, the 
other an open trough. Several weak por- 
tions of the tunnel are encased in walls of 
Hellenic masonry, and roofed by stones in- 
clined against one another ; other such 
portions were walled up l)y the Romans 
with masonry laid in mortar, and arched 
over. The engineer of this great work was 
Eupalinos of Megara ; it was carried out 
by King Polycrates, who died 522 B.C. It 
is hoped that the aqueduct may soon be 
repaired entirely and perform anew its old 
function of carrying fresh water to the 
port. 

The IIeuaeum, or Temple of Hera, was 
about two miles S. W. of the city of 
Samos, ou a height overlooking the sea. 
The original structure, built by Rhoecus 



(who as early as the vii cent. B.C. was at 
the head of a famous school of sculpture 
and architecture at Samos), and by his 
son, Theodorus, was burned by the Per- 
sians, but was rebuilt probably under Poly- 
crates, in the vi century B.C. This was 
the largest temple known to Herodotus. 
It was Ionic, decastyle, dipteral, of white 
marble in the superstructure, with foun- 
dations of tufa. As the solitary cohimn 
still standing is not fluted, the temple 
was probably never finished. The excava- 
tions of M. Girard upon the site, in 1879, 
disclosed a number of bases of columns 
and portions of the foundation. While 
his investigations have shown the incor- 
rectness of the plans of the temple given 
by his predecessors, they were not carried 
far enough to supply data for a correct 
plan. 
SAMOTHRACE, xEgean Sea. 

Doric Temple, of marble, of Hellenis- 
tic date, and in several ways anomalous in 
plan. It was hexastyle, prostyle, with a 
prostasis of three columns on the sides, on 
a stylobate of three steps, before the pro- 
naos. The prostasis had an interior range 
of columns opposite the third columns of 
the flanks. The steps were not continued 
around the cella. In plan the temple was 
abnormally long and narrow. The total 
length was 120 ft. ; width of cella, 43 ft. ; 
width of prostasis, including steps, 47| 
ft. ; interior dimensions of cella, 34f ft. 
by 85 ft. The foundations remain of two 
partition walls extending back 54 ft. from 
the front wall, and dividing the cella into 
nave and aisles ; no remains have been 
found of ranges of columns Avhich could 
have stood on these foundations. Though 
the cella ends externally in a square back 
wall, it is curved inside in the form of a 
shallow apse. The proportions of the 
architectural members are notably slight, 
akin to those of the temple at Nemea, and 
approaching those of the Corinthian or- 
der. The height of the columns is about 
six and a half diameters, the entabla- 



443 



SAN BENEDETTO 



ture low, tlie pediment high. The pro- 
file of the capitals is a straight line. The 
cyma of the cornice is ornamented with a 
spiral acanthus moulding, and with lion- 
head watei"-spouts. An elaborate anthe- 
mion acroterium stood on the apex of the 
pediment, and Victories formed the acro- 
teria at the sides. Several figures of the 
pediment-sculptures have been recovered. 
The execution is good. 

Old Temple, so-called, an Ionic struct- 
ure of which only portions of the foun- 
dations remain in place. The reliefs of 
the frieze, representing dancing female 
figures, are in the Louvre. The cornice 
had dentils, and the cyma was orna- 
mented with lion heads and anthemia, and 
crowned with antefixes in the form of 
palmettes. 

Propylon of Ptolemy II., a double 
hexastyle Ionic portico of large-grained 
white marble from Thasos. The columns 
have twenty-four flutes ; the architrave is 
high and the frieze ornamented with 
bucrania and rosettes, comparatively low. 
The dentils of the cornice are proportion- 
ately large, and the pediments were of 
very low angle. 

RouifD Temple, dedicated by Queen 
Arsinoe, daughter of the first Ptolemy, 
and wife of the second. The foundation 
is solidly built of well-fitted blocks of 
common stone, and is 85 ft. through. 
The superstructure was of marble, with a 
diameter of 62 ft. The building consisted 
of a drum of masonry of uncertain height, 
upon which stood forty-four square piers, 
with anta-capitals, supporting a Doric en- 
tablature, the cyma bearing acanthus 
spirals and lion heads. A moulded frieze 
surrounded the building beneath the i^iers, 
and in every intercolumniation was a 
barrier carved with a rosette between two 
bucrania, and above this a heavy slab of 
marble. It is uncertain whether there 
were windows in this. The wooden roof 
was conical, and may have had an open- 
ing for light at the apex. In the in- 



terior forty-four Corinthian semi-columns 
corresponded to the exterior piers, and 
the barriers Avere ornamented in alternate 
intercolumniations with paterae and bu- 
crania. The workmanship is good, but 
the proportions are sometimes defective, 
and the ornament lacks the freedom of 
the best Avork. 

There is a large temple of late Doric 
style, prostyle, with six columns in front 
and three on the sides, and two columns 
with a double intercolumniatio]i between 
them, between the antes of the cella. 

The Walls of the ancient city are a 
notable example of polygonal masonry in 
very large, rough blocks with open joints. 
The wall, originally about 18 ft. high and 
7 ft. to 13 ft. thick, is broken into angles 
for the sake of defence. Of three gates 
whicji remain recognizable in a course of 
over half a mile, one is complete ; it is 
spanned by blocks projecting horizontally 
from the sides. The wall is doubtless 
very early, as is indicated not only by its 
construction, but by the circumstance that 
the cliief buildings of Samothrace lie out- 
side of it. 

SAN BENEDETTO, near Mantua, 
Italy. 

The Church is a great cruciform struct- 
ure, built, or remodelled, by Giulio Ro- 
mano in 1539. Its interior is interesting, 
and has a long nave and aisles, transept, 
apsidal choir, and surrounding aisle, with 
five radiating chapels, a border of lateral 
chapels on each side, and an open vaulted 
porch across the front. The whole is 
about 325 ft. long, and 130 ft. across the 
transept. An octagonal dome covers the 
crossing. The groined nave-vault is car- 
ried on piers faced with an order of pi- 
lasters. The vaults of the square bays of 
nave and aisles are singularly arranged. 
In the first three bays the so - called 
Palladian motive is repeated — an arch 
between two square - headed openings, 
with dividing columns. The aisle-bays, 
half as long as those of the nave, are 



SAN GALGANO 



in a curious alternation witli tliem, and 
are alternately groined and barrel-vaulted, 
closing with a half bay at each end. 
SAN GALGANO, near Siena, Italy. 

The Abbey Church, of the xiii cent., 
was one of the most characteristic Gothic 
churches in Italy. It is roofless, and the 
vaults mostly fallen, but the walls are 
well preserved. The abbey was Cistercian, 
a dependent of Casamari, and the church, 
like those of Fossanova and Casamari, is 
of the French type. It is cruciform, witli 
a square-ended choir of one bay, and aisles 
to both nave and transept. The nave and 
isles, in eight bays, had four-part pointed 
vaults; the choir vault was six-part. The 
arches are pointed throughout, the abun- 
dant carving partly French and partly 
Italian. There was no triforium, but 
a clerestory of large traceried windows, 
and large rose-windows in the south tran- 
sept and the east end. The building, lofty 
and imposing, is mostly of Travertine, but 
the later and upper parts in brick. The 
front was never finislied. There is no in- 
dication that it liad the usual Cistercian 
central tower ; a tower added at the S. E. 
corner of the transept has fallen. 
SAN GEMIGNANO, Italy. 

The CoLLEGiATA, or PiEVE (Parish 
Church), is a basilica of the xil cent., 
consecrated in 11-48. Its arcades of 
stilted round arches are carried on old 
columns with varied capitals ; but the in- 
terior was rebuilt witli new vaulting and 
lengthened transept in the xv cent., by 
Giuliano da Majano. and the church has 
since been mucli modernized, with the ad- 
dition of chapels. It is most noted for its 
interior decoration of frescoes, especially 
in the chapel of Sta. Fina, where there 
are paintings by Domenico Gliirlandajo, 
Benozzo Gozzoli, and Pollaiolo, and a 
finely sculptured altar by Benedetto da 
Majano. 

The Palazzo Pubblico dates froui the 
XIV centurv. It is a Gothic buildinof of 
rectangular plan, measuring about 05 ft. 



by 100 ft., with a picturesque interior 
court from which the open gallery on the 
second story is reached by a stone stair- 
case, supported by a broad segmental arch 
with a fine wall under it. The fa9ade is 
of brick, about TO ft. high, and the main 
floor is reached by a double flight of steps 
from the street under a projecting balcony. 
There are four stories above the basement, 
the windows all covered by segmental 
arches, and those of the first story having a 
pointed bearing-arch. At the angle of this 
front stands a fine square brick tower 
called the Torre del Commune, somewhat 
earlier than the palace, about 30 ft. square 
and IGO ft. in height, with an open arch- 
way at the foot through Miiich a street is 
carried, and small segmental-arched open- 
ings at intervals, but no distinct belfry 
stage. It is finished with an arched corbel- 
table and square battlements. 
SAN GERMANO (or Cassino anc. Casi- 
num), Latium, Italy. 
Amphitheatre, small in size, but, so 
far as the exterior is concerned, of very 
perfect preservation, built by Ummidia 
Quadratilla, a woman lauded by Pliny the 
younger. It is an imposing ruin. The 
Avails are faced with reticulated masonry, 
and six arched entrances still remain. 
The interior has suffered much ; its area 
is now under cultivation. One side of 
the structure was in part supported by 
the slope of the mountain. The ruins 
are standing to the height of 5G ft. 
SAN GImIgNANO. See San Ocmicj- 

IKUIO. 

SAN LIBER ATO RE, also known as San 
Salvatore, Italy. 
The Monaster y, of uncertain date, 
mentioned in the ix cent., was rebuilt, 
including the church, early in the xi cent- 
ury. The church is a basilica with nave 
and narrow aisles separated by seven arches 
on each side, springing from square piers, 
and opening into a narrow transept di- 
vided by two arches in the line of the 
nave arcades into three bays, each with a 



445 



SAN MARTINO 



round apse in the eastern wall. All the 
ceilings are of wood. The fa9ade has an 
open porch covering the whole breadth of 
the church, divided into three vaulted 
bays corresponding to the nave and aisles, 
and approached by a flight of steps as 
broad as the middle bay. A gallery is 
over the porch, and at its right is a square 
battlemented tower in several stages. 
SAN MARTINO, near Viterbo, Italy. 

The Church remains from a Cistercian 
abbey of the xiii century. It is cruciform, 
about 225 ft. long and 100 ft. across the 
transept, and has a nave of four square 
bays separated from aisles of eight bays 
by pointed arcades carried on alternate 
grouped piers and columns, the choir, 
of half a bay, ending with a polygonal 
apse. The transept arms and the choir, 
lower than the nave which includes the 
crossing, have six-part vaulting ; all the 
rest of the vaulting is four-part. A small 
square central tower is curiously balanced 
on the diagonal vaulting-ribs over the 
crossing. There is no triforium, but an 
ample clerestory, and all the windows, 
those in the aisles being exceedingly small, 
are round-arched, except a small rose high 
up in the gable of the south transept, and 
a large pointed traceried window in the 
west front. This front is simple, built up 
to a horizontal cornice over the original 
gable, and has a single round-arched door 
under the traceried window. Two small 
square towers flank it, with round-arched 
belfries, and low spires, or pyramidal 
roofs of stone. The choir is thought to 
date from the beginning of the xiii cent., 
the body of the church from the middle, 
and the fa9ade, or its termination, from 
the XIV. 
SAN MINIATO AL TEDESCO, Italy. 

The Cathedral, dedicated to Sta. 
Maria and S. Genesio, is an early Renais- 
sance church, probably built on the 
foundations of an earlier basilica, and 
dates from 1488. Its nave and aisles, 
about 100 ft. long, are divided by arcades 



of seven round arches on each side, sup- 
ported on Ionic columns, and surmounted 
by an entablature, over which is a flat 
wall pierced with round windows. There 
is a long transept with a rectangular choir 
beyond, each ai'm extended into a long 
rectangular chapel, and three square chap- 
els open from each aisle. The ceilings in 
nave and transept are flat ; elsewhere they 
are vaulted. 
SAN PELLINO, Italy. 

The Cathedral is a Gothic church, 
probably of the xii cent., standing on a 
deserted plain at some distance from the 
town, among the ruins of the Roman city 
of Corfinium, from the materials of which 
the church was built. It is a cruciform 
basilica about 135 ft. long and 55 ft. 
broad, with a long nave separated from 
the aisles by seven arches on each side, 
springing from square piers. The aisles 
are lighted by small pointed windows. 
The raised transept, which is the choir, 
projects slightly beyond the aisle walls, 
with an apse at each end, and is crossed by 
the main arcades. The middle bay is cov- 
ered by an octagonal dome. The ceilings 
are all of wood. There is a fine pulpit dat- 
ing from the latter part of the xii cent., 
square, supjjorted on four stout columns 
with composite caps, without arches, car- 
rying a delicate sculptured frieze above 
which the sides are panelled and decorated 
in relief. The front is modernized ; the 
flank walls both of aisles and clerestory, 
also the apses, are divided by thin pilaster 
strips ninning up to arched corbel-tables. 
The eastern apse is encircled by two 
ranges of engaged columns, the lower 
bearing a sculptured frieze, the upper, 
blind arches with reliefs in the heads. 
From the sou.th aisle opens a smaller 
transverse church, dedicated to St. Alex- 
ander, 65 ft. long and 28 ft. broad, with 
an apse in the eastern side. 
SAN PIETRO IN GALATINA, Italy. 

Sta. Caterina. An old church dating 
originally from the xi cent., but rebuilt 



446 



SAN" EUFO 



with important changes of form al:)out 1380. 
Its plan is singular : a nave divided by 
transverse pointed arches into three square 
groined bays, with a blind j)ointed arch 
on each side of each bay rising to the 
heiglit of the clerestory, and a narrow 
2:)ointcd window in tlie arch head. Under 
each blind arch a low j)ointed arch opens 
into a narrow longitudinal corridor, out- 
side of which is a long undivided aisle, 
covered by a slightly pointed barrel-vault. 
A square groined bay continuing those 
of the nave forms the choir, from which 
opens on the east an octagonal chapel with 
a very high Gothic vault, the ribs spring- 
ing from slender angle - shafts. Each 
side of the octagon has a round window 
high in the wall. The front is in two 
stages, the lower of which has a rich cen- 
tral doorway with deep jambs, a sculptured 
lintel, and painted tympanum nnder an 
enclosing arch and gable. Similar door- 
ways give entrance to the two coi'ridors. 
The lateral walls have low gables. The 
raised central division is covered by a 
gable with an arcaded corbel-table follow- 
ing the rake, and a small wheel-window 
witli decorated label. At the base of the 
gable on either side is a kneeling figure ; 
and flanking the gable wall on each side 
is a high detached octagonal shaft like a 
turret, carrying a similar figure. Tlie 
sculpture of the church is interesting ; its 
character is strongly Byzantine. The in- 
terior walls are covered with frescoes of 
the earlv xv century. 
SAN RUFO. See Tcggiam. 
SAN SALVATOEE. See San Lihcratore. 
SANTA MARIA D'ARBONA, Italy. 

Tlie Church was attached to a Cister- 
cian monastery founded in 1208 and peo- 
pled with monks from SS. Vincenzo ed 
Auastasio in Rome. It has a cruciform 
plan, Avith a very short nave in two ob- 
long groined bays of unequal breadth, 
the very low round arches springing from 
massive grouped piers Avith half-columns 
rising through the clerestory to take tlie 



spring of the cross ribs. The brick 
vaulting is pointed. The clerestory walls 
are pierced high np with simple round- 
arched windows. The aisles, which seem 
to have been added a half-century later, 
have pointed windows. The choir is in 
two oblong groined bays like those of the 
nave, and two narrow bays on each side ; 
and two deep chapels flank the transept 
on each side. The vault of the crossing, 
carried somewhat higher than the rest, 
has a ronnd opening at the crown. The 
fagade is in three divisions separated by 
pilaster-strips, with a single doorway in 
the centre. A horizontal arched corbel- 
table crosses the front at mid-height. 
SANTA MARIA DI FALLEEI (Roman 
Falerii), Etruria, Italy. 
The ancient Town- wall remains in 
great part, with its gates and towers, 
forming a circuit of about 7,000 ft., and 
interesting as one of the best si^ecimens 
of Roman fortification. The towers are 
square and project about 10 ft., the gate- 
ways are arched, and the masonry is regu- 
lar, in courses of large blocks i^resentiug a 
markedly Etruscan character. Tlie wall 
in one place rises to a height of 58 ft., and 
it is one of the most imposing examples of 
ancient fortification in Italy. 
SARBAT EL-KUADIM, Sinaitic Penin- 
sula, Arabia. 
Temple of IIathor, on an elevated 
platform of rock. The small sekos, the 
most ancient part of the temple, is excav- 
ated from the rock ; its roof is supported 
by a central pillar, and portions of the 
ancient painted decoration of hieroglyphs 
and pictorial subjects remain on the walls. 
Beside the sekos is a second chamber 
without ornament, and before both ex- 
tends a portico of columns with Hatlior 
capitals. There is also in connection with 
the temple a large building divided into 
small rooms. In the portico and in front 
of the temple are many pyramidal steles, 
with hieroglyiihic inscriptions. The whole 
is enclosed by a wall, the space within be- 



44T 



SARDINIA 



ing about 167 ft. by 69 ft. The sekos 
dates from Amenemliat III., the portico 
from Thothmes III. The temple was 
founded in connection with neighboring 
mines of turquoises and of copper. 
SARDINIA, Mediterranean Sea. 

The NuEAGHi consist of circular towers 
of stone, in the form of truncated cones, 
of one, two, and perhaps occasionally three 
stories, having within a circular chamber 
generally about 15 ft. in diameter, cov- 
ered in beehive form by corbelling out the 
stones of the wall. The chamber, en- 
tered by a very low door, sometimes has 
smaller chambers opening into it, and 
sometimes one or two small windows. The 
masonry, assembled without cement, is 
sometimes very rude, sometimes compara- 
tively good, often, esjDecially in the lower 
parts, of enormous stones. The chief of 
these monuments are those of Zuri, Nied- 
du, Losa, Oes, Sarecci, and Ortu. Occa- 
sionally, as at Ortu, near Domus Novas, 
province of Igiesias, there is a consider- 
able group of such towers, connected by 
walls forming curtains, and surrounding a 
larger central tower, the whole thus pre- 
senting much analogy with a mediaeval 
castle. The object of the nuraghi is un- 
certain ; some arch^ologists hold that 
they are tombs, but this is improbable, as 
the known tombs of ancient Sardinia are 
of very different character. It is also im- 
probable that they are temples. The most 
reasonable hypothesis is that they are 
places of refuge against a sudden invasion. 
Their date is also uncertain, but it is most 
likely that they are not of very high an- 
tiquity. They may be paralleled with the 
much smaller but very similar structures 
called trudclM, still erected by the hus- 
bandmen of the Puglie region in southern 
Italy, as refuges against the weather or 
temporary dwellings. 
SARDIS (Sart), Lydia, Asia Minor. 

Temple of Cybele. The east front is 
beneath the acropolis, the west on the 
bank of the Pactolus. The orieinal build- 



ing was burned in the Ionian revolt, 499 
B.C. ; the present structure is probably of 
the time of Alexander the Great, iv century 
B.C. The remains consist of two columns 
of the east front and truncated portions 
of four others, standing with many frag- 
ments on the ground. Peyssomel, in a 
drawing of 1750, shows six columns and 
part of the cella. The columns are buried 
to nearly one-half their height, but are at 
least 58^ ft. high and Q\ ft. in diameter. 
The temple was built of a coarse white 
marble, and was Ionic, octastyle, dipteral, 
with three ranges of columns on the east 
front, and two ranges, probably of seven- 
teen columns, on each flank. The ground 
plan was 261 ft. by 144 ft. 

Theatre, of Roman date. The cavea, 
which is slightly greater than a semicircle, 
is excavated from the north slope of the 
acropolis hill. There is one- precinction, 
or horizontal dividing-passage, and a gal- 
lery bordering the top of the cavea. There 
seems to be no vestige of a stage struct- 
ure, and the theatre is curiously com- 
bined with the stadium. It is not in a 
good state of preservation. The exterior 
diameter is about 396 ft., that of the or- 
chestra 162 ft. 

The Tomb of Alyattes, near by, is a 
circular mound 1,180 ft. in diameter above 
its inwardly inclined basement of heavy 
masonry. The upper portion of the 
mound is formed of alternate layers of 
clay, loam, and rubble concrete, above 
which is a platform of bricks paved with 
masonry. On the summit stood five in- 
scribed memorial steles. The height of 
the mound is 142 ft. Within the tumu- 
lus the funeral chamber has been found ; 
it is built of large stones, and is 11 ft. by 
8 ft. in plan, and 7 ft. high, with a flat roof. 
SEBASTE (Samaria), Palestine. 

The Church of St. JoH:Nr, now half 
ruined and converted into a mosque, 
stands, according to tradition, over the 
tomb of John the Baptist, and was one of 

It is about 75 ft. 



the largest in Palestine 



448 



SEBENICO 



by 150 ft., and consisted of a nave and 
aisles of four bays, a transept, and a choir 
of one bay beyond, with aisles and three 
eastern apses. The apses are Byzantine 
in form, round within and polygonal 
without. The aisle windows are round- 
arched, and some details of capitals and 
bases Romanesque in character ; in other 
respects the style is the French of tlie lat- 
ter half of the xii century. The vaulting 
is groined and ribbed, the arches pointed, 
tlie piers clustered, the bays of the nave 
short, and of the aisles square, as in the 
western Gothic churches. The walls, the 
south aisle, south transept, and apse stand 
entire ; the rest has been pulled down and 
serves for the open court whicli character- 
izes most mosques. In the middle a mod- 
ern dome covers the reputed tomb of 
John the Baptist, which is in a crypt or 
cave beneath the pavement. The tradi- 
tion that the saint was buried here is very 
old, and has tlie authority of St. Jerome. 
A basilica over the spot is mentioned in 
the VI cent., but not after tlie invasion of 
Chosroes. The present structure must 
date from before 1187. Sebaste was a 
see in the early Christian ages. The 
bishopric was revived by the crusaders, 
and again later, in name at least, by the 
Greek church. 

On a terrace on the soutli side of a hill 
is a row of columns, which originally sur- 
rounded the liill and was about 3,000 ft. 
long, with which Herod the Great adorned 
the town. The terrace is about 50 ft. 
wide. The surviving columns, which 
have lost their capitals, attain a height 
of 10 ft. ; their diameter is about 6 ft. 
Some of the shafts are monolithic. On an- 
otlier terrace stand some twelve columns, 
without capitals, so arranged as to indi- 
cate a peristyle ; tliey probably belong to 
the temple dedicated by Herod to Augus- 
tus. There are also remains of a great 
stoa or portico, of a forum, and of a 
triumphal gateway, ornamented and for- 
tified with round towers. 



SEBENICO, Dalmatia. 

The Cathedral (S. Giacomo), dating 
from the xv cent., was begun in the 
Gothic style and finished in the Renais- 
sance. It is built wholly of stone, neither 
brick nor timber being used in its con- 
struction. The plan is cruciform, with 
nave and aisles of six bays, a transept ex- 
tending only to the aisle walls, and with 
an octagonal lantern and dome over the 
crossing, and a single bay to the east of 
the transept ending with three polygonal 
apses. The nave arches are j)ointed, the 
columns round monoliths with Attic bases 
and foliage capitals of Venetian type. 
The two western piers of the central 
dome, belonging to tlie Gothic part of the 
church, are quatrefoil in section with capi- 
tals of the ricliest Venetian foliage. The 
aisle bays arc square, and have ribbed 
four-part vaults. Above the nave arches 
runs a rich Gothic string-course, over 
which is a triforium of flat-topped open- 
ings divided by fluted pilasters, and a 
clerestory with one arched window to each 
bay. The roofs of nave and transept are 
cross-ribbed barrel-vaults, and over the 
triforium gallery are quadrant or half- 
barrel vaults. These vaults, which show 
as the exterior roofs behind curved gables, 
form the distinguishing feature of the 
church. The choir stalls are of stone, and 
behind them the transept is floored over 
to form galleries, in front of which is a 
marble balustrade of twisted columns and 
round arches, carried partly round the 
two piers at tlie choir entrance to form 
pulpits. Outside, the Gothic work ex- 
tends as high as the cornice of the aisles. 
The walls have square buttresses and two- 
liglit traceried windows. At the west end 
and in the north side are two fine door- 
ways, the northern one called the Lion 
Door from two flanking lions guarding 
it, from whose backs rise octagonal shafts 
bearing statues of Adam and Eve under 
canopies. The west door is similar in 
style but richer. 



To the changes of 1441 



4-19 



SEGESTA 



are due the choir, the eastern end and 
apses, and the central tower, which is 
square to tlie height of tire semicircular 
nave roof, and there changes to an octag- 
onal lantern covered by an octagonal 
cupola with crowning statue. The lan- 




Fig. 208. — Segesta, Temple. 

tern has two large windows in each face 
and is very light in construction, being 
tied with iron like the nave vaults. The 
cupola and the vault have been taken 
down in the present century and rebuilt. 
In the southern apse is a fine baptistery 
of mixed Gothic and Renaissance design. 
Beside it is the sacristy, a large chamber 
raised on a stone vault springing from the 
wall of the bishop's palace on one side, and 
from five columns on the other, and form- 
ing an open loggia with an entrance into 
the baptistery. The cathedral was begun 
in 1430 under Antonio di Pietro Paolo ; 
in 1441 he was replaced by Giorgio Orsini, 
'^ho died in 1475. The church was final- 
Iv consecrated in 1555. 
SEGESTA (anc. Egesta), Sicily. 

Greek Temple, about five miles from 
Calatafimi, on the edge of a rocky gorge 
west of the ancient city. It is one of the 
best preserved of Greek temples, though 
it was never finished ; all the thirty-six 
columns of its peristyle are standing, and 



all but one are perfect. It is conjectured 
that the work was interrupted by the capt- 
ure of the city by the Carthaginians in 
409 B.C. It has been sought to identify 
it with the temple of Artemis (Diana), 
from which the statue was taken to Car- 
thage ; but this is prob- 
ably untenable, as 
when the work was 
stopped the temple can 
hardly have reached a 
sufficiently advanced 
stage to receive its cult 
statue, and but scanty 
traces remain of the 
cella. It is Doric, hexa- 
style, with fourteen 
columns on the flauks 
on a stylobate of four 
steps ; in plan it meas- 
ures on the lowest step 
204 ft. by 88 ft. The 
details and the plan are 
excellent and of the 
best time, and unfinished as it is, the effect 
is most impressive. The material is the lo- 
cal limestone, which under the influence of 
time has assumed a golden-brown color. 
The columns, formed of an unusually large 
number (from ten to thirteen) of drums, 
were still uncliannelled when the work was 
stopped. The capitals are wide-spreading 
with three strongly marked annulets, and a 
scotia below. Their diameter at the base is 
6 ft. 2 in., at the neck, 5 ft. 2 in.; their 
height is 30 ft. 2 in., the intercolumniation 
is 14 ft. 2 in. Tlie entablature and pedi- 
ments remain almost perfect ; the face of 
the architrave is inclined slightly forward, 
that of the frieze and pediments slightly 
backward. {See Fig. 208.) 

Theatke, on the north slope of Monte 
Barbaro, within the boiinds of the ancient 
city. It is probably of the v cent. B.C., 
but more or less remodelled in Eoman 
times. The plan is greater than a semi- 
circle, the ends of the cavea being ex- 
tended about 10 ft. : the external diameter 



450 



SEGNI 



if 209 ft., that of the orchestra 54 ft., the 
length of the stage 90^ ft. The exterior 
wall is not an arc of a circle, but irregu- 
larly polygonal, with about twenty faces. 
The cavea is in great part excavated from 
the rock ; the seats are of masonry, divid- 
ed by a precinction, or horizontal passage, 
into two tiers. The lower tier of twenty 
rows of seats is well j^i'eserved, and is di- 
vided by flights of steps into seven cunei. 
The highest row of seats, next below the 
precinction, is provided with backs. The 
upper tier consisted probably of eight 
rows of seats. The foundations of the 
stage-structure remain ; the supporting 
walls of the ends of the cavea are in good 
condition. 
SEGNI (anc. Signia), Latium, Italy. 

The Walls are one of the most remark- 
able examples of Cyclopean work in Italy. 
The entire circuit, with its five gates, can 
be followed. Tlie masonry is in large, 
roughly squared blocks of limestone. One 
of the gates, now called the Porta Saraci- 
nesca, is of especial interest from its size and 
solidity. Its sides converge toward the top, 
and the huge lintel-stones are 13 ft. long. 
On the southeast side of the town is a sec- 
ond gate, almost precisely similar. With- 
in the walls there is a temple of Roman 
date, now converted into the cliurch of 
San Pietro ; its walls are in good ashlar of 
tufa. 

SELEUCIA PIERIA (Suweidiyeli), Syr- 
ia. 

Tombs of the Seleucid^e, so-called, 
situated in a hillside near an ancient bridge 
which crosses the rock-cut water-channel. 
A vestibule, 2G ft. long and 8 ft. wide, Avith 
beautiful engaged columns on each side 
and a vaiilted rock-cut ceiling, leads to a 
chamber richly ornamented witli friezes, 
volutes, etc. From this chamber passages 
diverge to a number of burial-chambers 
with loculi and niches. On tlie plateau 
forming tlie upper town are plentiful re- 
mains of temples and other buildings, in- 
cludinir a number of columns still stand- 



ing, and portions of the fortifications of 
the acropolis. 

There are considerable remains of the 
ancient Walls, which were about five 
miles in circuit, with several of the gates, 
and of the walled and fortified port, of 
oval shape, about 1,980 ft. by 1,350 ft., 
witli two well-built moles at the entrance, 
which is now choked. A deej) rock-cut 
channel about 3,600 ft. long, is also note- 
worthy ; for a length of 420 ft. , and again 
for a stretch of 135 ft., it is a tunnel 21 
ft. wide and high, with a channel about 4 
ft. wide in the middle for the brook, to 
divert which from the city the cutting 
was made. 
SELINUS (Selinonte), Sicily. 

This ancient Greek city was founded on 
the S. W. coast of Sicily, in the second 
half of the vii cent. B.C., by a colony 
from Megara Hyblaea, on the eastern 
coast. It rapidly rose to great prosperity, 
but was taken and destroyed by the Car- 
thaginians in 409 B.C. There are on the 
site rcnuiius of seven important Doric 
temples, and several metopes from an 
eighth temple have lately been discovered, 
constituting the most considerable group 
of ruined Greek temples in Europe. The 
temples appear to have been overthrown 
by earthquakes, and in the case of several 
of them nearly all their architectural 
members are present. Four of them 
stood on the Acropolis, three on a hill 
nearly a mile to the eastward outside of 
the city-wall. They were all built of a 
coarse limestone from the quarries at 
Campobello, eight miles to the N. W., 
and coated with a fine, hard, white 
stucco. 

Temple A (so-called), the farthest 
south on tlie Acropolis, a Doric structure 
of the middle of the v cent, B.C., is 
moderate in size but excellent in style. 
The stereobate and portions of walls and 
of a number of columns remain in situ. 
It was hexastyle, peripteral, with fourteen 
columns on tlie flanks, on a stjdobate of 



451 



SELINUS 



four steps, with a more numerous flight 
of steps i^rojecting from the middle of the 
front. The cella had a deep pronaos and 
opisthodomos, each with two columns in 
antis, and an adytum at the back. The 
stylobate measures 51f ft. by 137| ft., the 
cella (exterior) 28| ft. by 92f ft. 

Temple B, on the Acropolis, the so- 
called Temple of Empedocles, a small 
Doric tetrastyle prostyle structure, which 
has been erroneously restored as having 
Doric frieze and Ionic columns. The re- 
mains are considerable, with important 
traces of polychrome decoration. A num- 
ber of members of the entablature, with 
their colors preserved, are in the museum 
at Palermo. 

TEiiPLE C, on the Acropolis, identified 
with probability as a temple of Apollo, is 
the second oldest of Selinuntine temples, 
and one of the most archaic examples of 
Doric architecture. It evidently dates 
back almost to the foundation of the city 
in 628 B.C. A number of columns still 
stand on the stereobate, together with a 
large portion of the cella walls. It is 
peripteral, hexastyle, with seventeen col- 
umns on the flanks, on a stylobate which 
has four steps on three sides, and a flight 
of nine steps in front ; an inner range of 
columns connects the third lateral columns 
from the front. The cella is long and 
narrow, and the distance from its walls to 
the surrounding columns is unusually 
great. It has a closed vestibule, and at 
the back an adytum, but neither pronaos 
nor opisthodomos. The columns have 
only sixteen channels ; those on the flanks 
are of less diameter than those on the 
fronts. The height of the heavy entab- 
lature is almost half that of the columns. 
The architrave is crowned by a moulding 
of abnormal form. From this temple 
came the important archaic metopes rep- 
resenting Hercules and the Kerkopes, 
Athena, Perseus, and Medusa, and a quad- 
riga, now in the museum at Palermo. 
The chief dimensions are : stylobate 



78f ft. by 2091 ft.; cella (exterior), 34| 
ft. by 133| ft.; columns, base-diameter 6 
ft. 4 in., neck-diameter 4 ft. 11 in., height 
28 ft. 3 in.; cella, 29 ft. by 131 ft. This 
temple offers an interesting example of 
the sheathing and ornamental crowning 
of the cornice with plates of richly colored 
terra-cotta, in part moulded in openwork 
or otherwise, and in part adorned with 
painted anthemia, braids, and other de- 
signs. 

Temple D, standing about in the mid- 
dle of the Acropolis, an archaic Doric 
structure dating back to the foundation 
of the city, in 628 B.C. In plan it is 
peripteral, hexastyle, with thirteen col- 
umns on the flanks, on a stylobate of 
fourteen steps. The cella is long and 
narrow, and is separated by a wide inter- 
val from the peristyle columns. Orig- 
inally it was of the archaic type with a 
closed vestibule, but this was subsequently 
changed to a deep pronaos with two col- 
umns ill antis. The columns of the peri- 
style have twenty channels, those of the 
pronaos sixteen. At the rear end of the 
cella is a large sekos or adytum which is 
surrounded on three sides by a stone 
bench. The antae of the cella terminate 
in three-quarter columns in place of pi- 
lasters. It is believed that this temple 
was dedicated to Athena. The stylobate 
is 77f ft. by 1741 ft.; columns, base-dia- 
meter 5 ft. 6 in., neck-diameter 3 ft. 9 in., 
height 24 ft. 8 in. ; cella, 27 ft. by 123^ 
ft. inside. 

Temple E (R according to Hittorff), 
identified as the Heraeum, the farthest 
toward the south of the range of temples 
on the eastern hill. It is assigned to the 
second half of the v cent. B.C., and is in 
style very close to the perfect Doric, 
though preserving some archaic features. 
The ruins are the most picturesque among 
Selinuntine temples. It is peripteral, 
hexastyle, with fifteen columns on the 
flanks. The cella -structure has deep 
pronaos and opisthodomos, each with two 



452 



SERJILLA 



columns in antis, and from the rear of 
tlie interior of the cella opens a sekos 
chamber. The cella lies several steps 
higher than the joronaos, and the stylo- 
bate consists of four steps with a more 
numerous flight embracing three inter- 
columniations j^rojecting from the middle 
of the front. The columns are coated 
with fine white stucco ; they have twenty 
channels, and tlie curve of the echinus 
apioroaches the iierfection of the best 
Athenian examples. Abundant remains 
exist of the rich polychrome decoration. 
To this temple belong the well-known 
metopes of Hercules and an Amazon, the 
mystic marriage of Zeus and Hera, Arte- 
mis and Act;i3on, Apollo and Daphne, 
Athena and the Giant, now in the museum 
at Palermo. They are from the friezes of 
the pronaos and opisthodomos. The chief 
dimensions are : stylobate, 83 ft. by 222| 
ft.; columns, base-diameter 7 ft. 4 in., 
neck-diameter 5 ft. 10 in., height 33 ft. 5 
in. ; cella (interior), 37^ ft. by 135i ft. The 
longest architrave-blocks measure 15 ft. 
5 in., and the heiglit of the entablature is 
contained two and one-quarter times in 
that of the columns. 

Temple T (by HittorfE designated S), 
the central one of the range on the east- 
ern hill, with parts of twenty-four Doric 
columns still in place. The temple, though 
higldy archaic in })lan, is assigned to the 
VI cent. B.C. ; it is long and narrow, with 
a cella proportionally still narrower. In 
plan it is peripteral, hexastyle, with four- 
teen columns on the flanks. Tlie stylo- 
bate is of four steps, the third of which is 
much wider than the others. The cella 
has a closed vestibule and a sehos or ady- 
tum at tlie back. The columns of the 
peristyle have twenty channels, those of 
the inner range sixteen flutes, which are 
separated by fillets ; the capitals are low 
and wide-spreading ; tlie proportions of 
triglyphs and metopes, etc., and the two 
metopes found bearing reliefs of a Grigan- 
tomachy, seem more advanced. The col- 



umns retain in part their stucco coating, 
and there are remains of polychrome or- 
nament. The chief dimensions are : sty- 
lobate, 80 ft. by 203 ft. ; columns, base 
diameter 5 ft. 11| in., neck - diameter 4 
ft, 1 in., height 29 ft. 10 in. ; cella (in- 
terior), 231 ft. by 1331 ft. The height of 
the columns is two and one-quarter times 
that of the entablature. 

Temple G, identified as dedicated to 
Apollo, by others called Temple of Zeus, 
the farthest nortli of the range on the 
eastern hill, of very large size and retain- 
ing the greater part of its lower members 
in situ despite the chaotic appearance of 
the ruin. Its date is placed in part in the 
VI cent, B.C., in part after the middle of 
the V, and it was not entirely finished 
when the Carthaginians took the city in 
409 B.C., as is shown by the fact that most 
of the Doric columns remain unchannelled. 
In plan it is peripteral, octastyle, on a 
stylobate of three steps, with seventeen 
columns on the flanks and the space of 
two intercolumniations between the peri- 
style and the cella M'alls and porticoes 
(pseudo-dipteral). The cella exhibits a 
deep pronaos preceded by a tetrastyle por- 
tico having on each side a column inter- 
vening between angle-column and anta, 
and an opisthodomos of two columns in 
antis. In the interior the cella had a 
free standing edicule at the back preceded 
by a double range of ten columns, each 
range consisting of two tiers. The newer 
capitals of the peristyle are somewhat 
heavy, but vigorous in outline ; the pro- 
portions of the entablature are excellent. 
The chief dimensions are : stylobate, 1G6 
ft, by 360 ft, ; columns, base-diameter 11 
ft. 2 in., neck-diameter of older columns 
6 ft. 3 in., of newer columns 8 ft. 1 in., 
height 53 ft. 4 in. ; cella (interior), 59 
ft. by 229 ft. 
SERJILLA, Syria. 

Roman Thermae, in excellent preserva- 
tion. There remain the entrance, the 
waiting-room, the heating-chamber, the 



453 



SEEMONETA 



great hall, a number of small chambers or 
sudatoria covered in with monolithic 
vaults, and a tribune for musicians, elevat- 
ed on columns. Stone exterior conduits 
lead from a large cistern to the window 
of every sudatorium, whence to produce 
steam the water was allowed to trickle down 
on pebbles heated red-hot. 
SEEMONETA, Italy. 

The Castle of the dukes of Sermoneta 
overhangs and commands the town from 
the summit of the high hill upon which it 
is built. It is an immense structure built 
during the xiii, xiy and xv centuries. 
In the centre of a large inner court is the 
castle keep, a high tower with battle- 
ments, which is the earliest remaining 
portion of the castle, and dates apparently 
from the xiii century. The upper story 
has two halls 20 ft. by 32 ft. with groined 
vaults ; one of these appears to have been 
the chapel and was filled with frescoes of 
the XIV century. The lower story has 
two larger halls, one 32 ft. by 26 ft., and 
the other 40 ft. by 32 ft. The latter is a 
fine apartment covered with cross-vaults 
24 ft. high, divided by a low round trans- 
verse arch. The stonework is careful 
throughout the castle, and the groined 
vault is largely used. There are long and 
intricate passages leading down, it is said, 
as far as the plain below. [A. L. F., Jr.] 

The Cathedral was originally a five- 
aisled basilica, probably built ander Cis- 
tercian influence from the neighboring 
Valvisciolo {q. v.) at the close of the xii 
century. The apse is square, flanked on 
each side by a square chapel ; there is no 
transept and the nave has five bays. All 
the aisle bays have groined cross-vaults, 
and are almost square in plan. There are 
three stages in the construction : the tow- 
er at the fa9ade is pure Eomanesque ; the 
porch with its wide pointed arch is in sim- 
ple Gothic style ; the body of the church 
is transitional. The outer aisles have been 
turned into chapels, the apse has been 
modernized, and the round arches of the 



central nave have been lowered, so that 
they describe only about a quarter of a 
circle. [A. L. F., Jr.] 
SESSA (anc. Suessa Aurunca), Italy. 

The Cathedral, dedicated'to Sta. An- 
nunziata and S. Pietro, is an ancient basil- 
ica of various dates, the oldest portions 
perhaps referable to the viii cent., but 
after a substantial rebuilding consecrated 
anew in 1113. The nave and aisles are 
separated by seven stilted round arches on 
each side, springing from antique columns 
with stilt blocks. The transept has three 
apses on its eastern wall, and its floor is 
raised seven steps above that of the nave. 
Beneath it is a crypt divided into five 
aisles of three bays each, with groined 
vaults supported on columns with Corin- 
thian capitals, over which are thin mould- 
ed stilt-blocks. The faQade has a fine 
open vaulted porch with three arches, the 
middle one pointed, springing from 
grouped columns. Over the porch appears 
only the front of the nave, with angle pi- 
lasters running up to a horizontal arched 
corbel-table and a low gable above. It is 
pierced with a single plain round-arched 
window with a small gable. This nave 
front is flanked by two singular tower-like 
modern bell-cotes which cover the ends 
of the aisles. They are great masses of 
wall, gabled and divided by string-courses, 
pierced each by five arches in three stories, 
i\\ which hang the bells of the church. 
Three doors enter the nave and aisles. 
The church has a remarkable marble pul- 
pit dating from 1250, a mass of mosaic 
and sculptured ornament, supported by 
columns resting on lions and carrying 
round arches. A fine Paschal candle- 
stick has similar decoration. 

The remains of antiquity include frag- 
ments of a tem^ile, incorporated in the 
church of the Vescovado, a cryptoporti- 
cus in the monastery of San Giovanni, 
built of stones of remarkable size, an am- 
phitheatre, many foundations of reticu- 
lated masonry, and a Eoman bridge of 



454 



SEZZE 



twenty-one arches, called the Ponte di 
Eonaco (Aurunca). 
SEZZE, Italy. 

The Cathedral, after being destroyed 
in the xii cent., was rebuilt shortly be- 
fore 1200 under the combined Cistercian 
influence of Fossanova {q. v.) and Valvis- 
ciolo {q.v.), in the style of transitional 
Gothic. The plan is basilical, without 
transept and with a single semicircular 
apse. The interior consists of eight bays: 
the length of the clnirch 103 ft., its 
width GO ft., width of nave, nearly 24 ft., 
of aisles, 11 ft. Only a few changes have 
been made since the time of the original 
construction, the principal alterations be- 
ing made in tlie xviii cent., when the 
apse and fagade were reversed and the 
vaults of the nave were reconstructed. 
There remains but one original nave vault 
next to the old apse ; it is a low-ribbed 
groin vault with plain square moulding as 
at Sta. Maria di Castello at Coriieto (y. v.) 
and some Lombard churches. The vaults 
of the side-aisles are groined, and se])arat- 
ed by pointed transverse arches. The 
plain arches of the nave are pointed as 
at Valvisciolo, but not as heavy, being 
in tlieir proportions similar to Fossanova 
and Casamari ; tliey are supported on 
grouped piers. There is a curious irregu- 
larity in tlie use of the engaged members 
which supported the ribs of the ancient 
main vaults ; some are colonnettes, some 
pilasters, some descend to the floor, some 
only part way down the piers, as in Cister- 
cian churches. The most advanced feat- 
ure of the building are the capitals of 
these engaged shafts, wliicli are of graceful 
foliated Gotliic type, quite rich in treat- 
ment and of good proportions, and sug- 
gest a French hand, while all the rest of 
the structure is an Italian adaptation of 
French models. Tlie original windows 
wei*e closed in the xviii cent., when the 
vaults were remodelled. The construction 
is entirely of stone. At the time of the 
so-called restoration in the xviil cent., a 



door was opened in the apse which became 
the modern fa9ade, and a modern choir 
was placed at the ancient faQade. [A. L. 
F., Jr.] 
SHAKKA, Hauran, Syria. 

The small Basilica is one important 
step in that development of the forms of 
Christian architecture which makes the 
buildings of central Syria memorable. It 
dates from the i or ii cent., and is nearly 
a square of 65 ft. It fronts east, and is 
entered by three doors of classic detail, 
between which are two curious niches 
flanked by pairs of colonnettes supporting 
pediments over arched entablatures. It 
is entirely of stone, like the other build- 
ings of the Hauran [q. v.). The interior 
is crossed by six arcaded screens which 
bore the flat roof. The central arches, 
2G ft. Avide, and nearly as high, make 
an open nave ; the narrower side arches 
give aisles, leaving square piers between. 
These arched screens are the structure of 
the building, supporting the roof and 
staying the Avails, Avhich are only fillings 
bctAveen them. The aisle arches are in 
two stories of half height, Avith a floor 
betAveen, making an upi^er gallery, and a 
roAv of longitudinal arches between the 
piers bears the stone parapet of this gal- 
lery. There is no clerestory, nor aisle Avin- 
dows, the building being liglited by the 
openings in the front and rear walls. Its 
structure singularly anticipates many char- 
teristics of European mediieval architect- 
ure. 

SIIOIIBA (anc. Pliilippopolis), Hauran, 
Syria. 

Baths, containing a number of A\aulted 
chambers, Avith interesting sculjiture. 
There are lofty arched entrances. The 
walls Avere encrusted Avitli marble, the 
metallic clamjis for holding which are 
still in place. The earthen pipes for the 
distribution of Avater are also in place. 
The Avater Avas brought by an aqueduct, 
five arches of Avhich are still standing. 

Theatre, built in the slope of a hill. 



■J65 



SIAH 



The exterior walls are still in good pres- 
ervation. Ten tiers of seats are visible. 
There is a precinction or horizontal gal- 
lery, and three entrances from below and 
four from above. The stage wall is orna- 
mented with niches. The diameter of the 
orchestra is about 65 ft., the length of the 
stage structure about 136 ft., its depth 
about 29 ft. Between the theatre and the 
street there is a small square temple of 
good style. 

The Koman Walls are still standing in 
part, with several gates consisting of two 
arches, side by side, separated by a pier. 
Some of the streets are 25 ft. wide, and 
well paved with long slabs. At the inter- 
section of the two chief streets, which 
appear to have been colonnaded, are ruins 
of a tetrapylon, as at Gerasa. There are 
several temples ; five columns of the por- 
tico of one of tliem are still erect. 
SIAH, near Kanawat, Hauran, Syria. 

Sanctuary of Baal Samin (a sun- 
god), shown by inscriptions to date from 
the first cent, of our era. There are three 
enclosures succeeding one another from 
east to west. The entrance to the first 
of these is by a triple gateway resembling 
somewhat in elevation an Egyptian pylon, 
but with classical details. The court is 
about 130 ft. by 52 ft., and is paved with 
slabs of lava. A second gateway of simi- 
lar plan leads into the second enclosure, 
which has the same width as the first, and 
is about 179 ft. long. AYithin the third 
enclosure, which occupies the extremity 
of the terrace, is a spacious peristyle on a 
level several steps higher than that of the 
preceding court ; and behind this rises 
the temple proper, the plan of which is 
still unknown, owing to the choking of the 
interior with debris. The front of the 
temple was of two stories ; the lower one 
only is standing, and consists of a recessed 
porch of two columns in antis between 
square projecting wings. The plan of this 
sanctuary is to be compared with that of 
the Temple at Jerusalem. The capitals of 



the peristyle are of a rather heavy Corin- 
thian, with plain, broad leaves in place of 
the acanthus, and somewhat rude figures 
of children in that of the central anthe- 
mion. The bell-shaped bases are formed 
of a double rank of inverted acanthus- 
leaves. The sculptured ornament of the 
sanctuary, which is at once vigorously and 
delicately executed, includes vine-branches 
and grapes, foliage, a lion, an eagle, ga- 
zelles, a saddled horse, etc. A sacrificial 
altar has been found flanked by two bucks 
in high relief, and another bearing a bull's 
head. Pedestals for statues, with their 
inscriptions, still stand in the portico of 
the innermost court. One of them bears 
the name of Herod the Great. 
SICYON, Greece. 

Theatre, on the N. E. slope of the 
Acrojoolis, explored by the American 
School at Athens in 1886-87. The cavea 
was divided into fifteen radial sections by 
fourteen stairways ; there were about 
forty tiers of seats, the upper tiers be- 
ing cut from the natural rock. The 
lowest tier comprised seats of honor in 
Poros stone, formed, as at Epidaurus, like 
benches with backs, and moulded arms at 
the ends. The length of the benches is 
about 8 ft. There is a diazoma or hori- 
zontal passage at a comparatively short 
distance above the orchestra, which makes 
it probable that a second diazoma, as yet 
undiscovered, existed above. The diazoma 
has a coping about 3 ft. high at the back, 
and two entrances from without the 
theatre, one on either side, by means of 
vaulted passages, which are interesting 
for their Greek vaults of good rectangu- 
lar masonry in large blocks. The orches- 
tra, of which the diameter is about 60 ft. , 
had a surface of rammed earth, or earth 
and cinders ; it was skirted beneath the 
cavea by a drain about 4 ft. wide, the in- 
ner masonry of which formed a coping to 
the orchestra. The parodoi, or passages 
into the orchestra between stage and 
cavea, were closed by double doors, the 



456 



SIDE 



foundations of which are in place. The 
stage-structure includes a number of par- 
allel walls with projecting chambers at 
the sides. It reijresents a Eoman modifi- 
cation of the original structure. The 
length of the wall of the proscenium is 75 
ft. 9 in. ; it was pierced with three doors 
unsymmetrically placed. An interesting 
feature is the underground passage or 
drain, beginning in a shallow and narrow 
conduit at the middle of the skirting drain 
of the orchestra, and carried in a straight 
line through the centre of the orchestra and 
out under the stage buildings, whence it 
is continued by a smaller tunnel in the 
rock. In the middle of the orchestra it 
widens and deej^ens to form a tank, be- 
yond which its width is 27 in. and its 
depth about 6 ft. Between the Ronuin 
and the Greek proscenia a flight of five 
steps leads down into the passage, the bot- 
tom ste^) being raised 1| ft. above the 
floor to allow water to pass under. The 
passage was covered, except over the stair- 
way, with slabs of conglomerate, lined with 
masonry, and in part floored Avith stone 
slabs. It undoubtedly served both as a 
drain and as a passage for actors from be- 
hind the proscenium to the middle of the 
orchestra, and it is to be compared with 
the similar feature discovered by the 
American School in the theatre at Eretria. 
At the back of the stage-structure was a 
Eonum portico forming a monumental 
fa9ade toward the exterior. At the south 
end of this portico is a large square struct- 
ure, probably a cistern, and at the nortli 
end a building of semicircular plan pre- 
ceded by a portico of four columns, which 
is identified as an ornamental fountain. 
Other ancient structures recorded in his- 
tory undoubtedly await exjiloratiou at 
Sicyon. 
SIDE (Eski Adalia), Asia Minor. 

Agora, 180 ft. in diameter, and sur- 
rounded by a double peristyle of columns. 
One side is occupied by the ruins of a 
temple, and a portico. 



Monumental Fountain. It is a 
massive wall about 45 ft. high, with a 
range of small arcades and niches above, 
and three large semicircular vaulted 
niches below, in each of which three 
streams of water issued from conduits and 
fell into basins. The lower half of the 
monument was further decorated by a co- 
lonnade of thirty-two unfluted Corinthian 
columns, standing on a basement and 
with a comjilete entablature, the convex 
frieze being carved with foliage. At each 
end of the monument an exedra jirojected 
at right angles. 

Theatre, in excellent preservation. It 
is situated on a gentle declivit}'^, the lower 
half only is excavated, the upper half is of 
solid masonry. In plan it is about one- 
ninth greater than a semicircle ; the ex- 
terior diameter is 409 ft., that of the or- 
chestra 125 ft., the vertical height 79 ft. 
The cavea has forty-nine tiers of seats, 
in two divisions — twenty-six in the low- 
er, and twenty-three in the upper. The 
precinction or gallery and its corridor 
are on a level with the surface of the 
ground at the back, and communicate 
with it by twenty-three vaulted passages 
in excellent and massive masonry of large 
blocks. Most of the seats are still in 
place, and the radial stairways are still 
passable. The seats are of white marble, 
admirably cut. The estimated capacity 
of the theatre is fifteeii thousand. 

A considerable part of the ancient city 
walls survives, especially on the land 
side, where the masonry is excellent. 
There is one gate in the wall on this side, 
and three toward the sea. 
SIENA, Italy. 

The Cathedral is one of the most con- 
spicuous and interesting examples of the 
Italian Gothic. In size it can scarcely be 
ranked with churches of the first class, 
having a length of about 375 ft. internal- 
ly, and a breadth of about 75 ft. or 170 ft. 
across the transept. The original church 
appears to have existed as early as the 



457 



SIENA • 



middle of the x century. It was reconse- 
crated, in 1179, after enlargement. A 
still more thorongli rebuilding took place 
less than a century later, the fa9ade hav- 
ing been begun, in 1245, under Niccolo 



riched arch mouldings, and covered by 
high crocketed gables separated by pin- 
nacles bearing niches with statues, and 
surmounted each by a standing figure. 
The porch is flanked by strong angle-piers 




Fig 209.— Siena, Cathedral. 



Pisano. The design contemplated a church 
of much greater size than the present, 
which is the transept of the intended 
church. This greater design was aban- 
doned after the exterior walls had been 
carried up to the height of the roof. Parts 
of it and of the nave arcade are still stand- 
ing, and are of great beauty. The exte- 
rior is entirely built of white marble, with 
occasional thin courses of dark gray or 
black marble. The fa9ade is of exceeding 
richness, and shows, especially in its lower 
portions, more of the feeling of northern 
Gothic than is often found south of the 
Alps. This portion consists of a great 
triple-arched porch stretching across near- 
ly the whole front, the three arches of 
equal breadth and height, very slightly 
pointed (but the central one round), deep- 
ly splayed, and with columnar jambs, en- 



which are the bases of two small towers 
that flank the faQade, and terminate above 
the roof in low spires and pinnacles. The 
fa9ade above the porch is divided into 
three compartments answering in breadth 
to the nave and aisles. Each division is 
covered by a high gable ; the central di- 
vision, carried to a much greater height 
than the sides and flanked by bold square 
buttresses ending in pinnacles, is a great 
square panel enclosing a round window 
beset with small niches, each containing a 
bust. A rich and delicate arcaded gallery 
binds it to the tower on each side. The 
wall surfaces are everywhere enriched with 
sculpture. The flanks of the church are 
of much simpler design, but perfectly con- 
sistent with the front. Both aisle and 
clerestory walls are divided by buttresses 
into bays, which below contain broad 



458 



SIENA 



pointed single windows of admirable de- 
sign, with slender angle-shafts, and high 
crocketed traceried gables flanked by pin- 
nacles. The clerestory has also single 
pointed windows, divided into three lights 
with tracery in the arch-head. The but- 
tresses both of aisles and clerestory are 
crowned by standing statues above the 
roof-line. The drum of the central dome 
is surrounded by an arcaded gallery rang- 
ing with the clerestory wall just above the 
aisle-roof, and is crowned by a circular 
lantern with round -arched cusped win- 
dows and coupled columns. The campan- 
ile, rebuilt in the xiv cent, by Agostino 
and Angelo da Sieua, is a most conspic- 
uous feature of the churcli. It stands 
at the junction of the soutli aisle and 
transept, its base being included within 
the church. It is a slender square tower 
in seven stages, of which six are marked 
by a regularly increasing series of open- 
ings in eucli face, from one to six. The 
wall is striped like the rest of the church 
witli alternate courses of wliite and black 
marble, tlie angles are marked by pilasters 
of very sliglit projection, terminating in 
plain sqiiare pinnacles within which rises 
a low octagonal stone spire. Tlie east end 
of the chui'ch, though unfinished, is of 
great interest. It has an additional lower 
story, occasioned by the rapid slope of the 
hill on wliich the cathedral stands, and 
wliich gives entrance to tlie baptistery 
beneath, now the church of S. Giovanni. 
Here are three round -arched doorways 
with splayed columnar jambs and enriclied 
arch mouldings, tlie central arch cov- 
ered by a crocketed gable with tracery. 
The fayade is divided into three bays by 
square buttresses, of M^liich the lower por- 
tion is decorated with lozenge - shaped 
panels containing sculptured heads, and 
the npper portions by rich and delicate 
tracery of gabled arclies on slender shafts. 
Ik'twcen the lower and upper stage the 
wall was enriched by a beautiful blind ar- 
cade of narrow pointed, cusped, and gabled 



arches on slender columns, of which the 
shafts have disappeared. The upper stage 
has in each bay a fine two-light window, 
narrow and high, with dee^^ly splayed col- 
umnar jambs and arch mouldings, and a 
gable flanked with pinnacles. Above these 
windows runs an arched corbel-table, at 
the height of the aisle-walls. The ujaper 
parts are wanting. The interior has a 
nave of five bays, separated from the aisles 
by square piers, with a half column on 
each face with large composite capitals 
supporting round arclies, of which the sof- 
fits are richly panelled. Transverse arches, 
also with broad panelled soffits, divide the 
nave and aisles into vaulted bays. Tlie 
sj^andrels of the nave arches are decorated 
with roundels enclosing heads in high re- 
lief. Above the arcade runs a bracketed 
frieze of square panels enclosing busts in 
terra-cotta of the popes. The clerestory 
is high, and is j)ierced with the windows 
already described. There is no triforium. 
Walls and piers are everywhere striped 
with alternate courses of black and wliite 
marble. The crossing is covered by a 
dome wliich expands beyond the width of 
the nave, and beginning witli a hexagonal 
wall resting on six great central jiiers and 
arches, is changed to a twelve-sided plan 




tOTinthiMMhMiiirita 



^•^a 



Fig. 210.— Siena, Cathedral. 
Scale of 100 feet. 



bv large and conspicuous squinches en- 
ciosing statues. This portion of tlie wall 



4M) 



SIENA 



is lined with, a continuous colonnade filled 
with standing figures of the prophets, 
with a frieze above of heads of cherubs in 
high relief. Above this the dome itself is 
oval in plan, its sofiit deeply panelled and 
decorated. The choir, prolonged in 1317, 
is in four bays, like those of the nave. 
Under its eastern half is the ancient bap- 
tistery above mentioned, now the church 
of S. Giovanni, of the full breadth of the 
cathedral but only two bays deep, di- 
vided by clustered piers supporting high 
pointed arches and covered by four-part 
vaulting. The baptistery contains a font 
in gilt bronze, with reliefs by Ghiberti 
and Donatello. The pavement of the 
cathedral is remarkable, consisting of an 
inlay of dark gray marble on a white 
ground representing a great variety of 
subjects, biblical, mythological, allegori- 
cal and symbolic, of which the best por- 
tions are attributed to Beccafumi, and pre- 
sumed to date from the beginning of the 
XVI century. The pulpit, one of the fin- 
est in Italy, is by Niccolo Pisano and his 
sons, Giovanni and Arnolfo. It is of 
marble, octagonal in plan, supported by 
eight columns at the angles and one in the 
centre, raised on a basement, the alternate 
columns resting on the backs of lions, and 
the central column on a pedestal sur- 
rounded by figures and groups in high re- 
lief. The capitals are highly developed 
and support round cusped arches, between 
which the angles are charged with admi- 
rable sculpture. Its wall above the arches 
is covered with reliefs of scriptural sub- 
jects. The pulpit is approached by a 
winding staircase decorated with beautiful 
arabesques in relief. It bears the date 
1268. {See Figs. 209, 210.) 

Church of the Osseeva]S"za, a xv 
cent. Eenaissance church, belonging to 
the ancient monastery of the Padri 
Minori Osservanti. The plan is pecul- 
iar ; a nave of two great square bays 
opens through a triumphal arch into a 
wider square choir, behind which is a 



deep apsidal chapel, each covered by a flat 
dome. A great order of Ionic pilasters is 
carried about the whole, supporting the 
transverse arches, and, with detached pi- 
lasters, the triumphal arch. From each bay 
of the nave a pair of chapels opens on 
each side through sub-arches flanked by 
pilasters. The bays of the nave are cov- 
ered by low domes, the choir by a high 
dome on an entablature above the penden- 
tives, which are decorated with medallions 
of glazed terra-cotta with busts in relief, 
by Francesco di Giorgio. In each wall- 
arch is a small round clerestory window, 
and similar windows light the chapels. 
On the front is a porch in two stories — 
the first with three open arches with a 
horizontal entablature above, the second 
with an order of engaged pilasters Avith 
a central gable. The exterior is of brick 
very simply treated — the central dome 
showing as a plain cylindrical lantern 
without openings, and with a low conical 
roof. A tall, slender, square bell -tower 
stands at the S. E. angle of the tribune. 

Church of the Servi, a Eenaissance 
church attached to the monastery of the 
Servi, and known also as St. Mary of the 
Conception. The monastery dates from 
the middle ages, but the present church 
was rebuilt during the last years of the 
XV cent, or the early years of the xvi, 
and has been attributed to Peruzzi. Al- 
though the design is in the style of the 
Renaissance, its plan and system of con- 
struction suggest a Gothic beginning. 
The nave and aisles, about 125 ft. long, 
are separated by arcades of round arches 
springing from Ionic columns, above 
which transverse arches divide them into 
five bays each, covered by groined vaulting 
which in the aisles is pointed. Heavy 
buttresses span the aisles and separate the 
chapels that flank each bay. The tran- 
sept is in five bays, the crossing square, 
the others oblong, but all groined at the 
height of the nave vaulting. The tran- 
sept terminates at each end in a deep 



4B0 



SIENA 



polygonal apse, and on its eastern wall, 
flanking tlie square groined choir with its 
polygonal apse, are two smaller apsidal 
chapels on each side, of similar form. A 
square bell-tower stands at the south an- 
gle of the plain front. 

The FoNTE Branda, made memorable 
by Dante's mention of it, is the most strik- 
ing example of a class of fountains pe- 
culiar to Siena. The rectangular basin, 
some 55 ft. long, is covered by a brick 
structure 30 ft. high, with a solid wall on 
three sides, and on the front three high 
pointed blind arches of brick springing 
from square piers, and enclosing lower 
open arches of the same form. The wall 
is capped with a strong arched corbel- 
table, and crowned with square battle- 
ments. The interior is divided by trans- 
verse arches into three square groined 
bays. The fountain dates from the end 
of the XII century. 

Another fountain of the same kind is 
the Fonte Nuova, built half a century 
later, in 1259, with brick arches, and cor- 
nice enriched with decoration in terra- 
cotta. 

The FojfTE Ga.ta, opposite the Palazzo 
Pubblico, on the old Piazza del Cainpo, 
now called the Piazza Vittorio Emanuele, 
is one of the most remarkable aiid beauti- 
ful fountains in Italy, consisting of a low 
rectangular basin about 35 ft. long, en- 
closed on three sides by a wall or screen 
6 ft. high, buttressed at the ends by 
sculptured pedestals. It is decorated with 
a series of round-arched shallow niches 
with statues, raised on a pedestal-course 
and separated by broad pilasters with bas- 
reliefs in panels. The fountain was built 
in 1343. The original bas-reliefs of the 
panels, executed by Jacopo della Quercia 
in 1412-19, have been lately removed to 
the museum near the Cathedral, called the 
Opera del Duomo, and the fountain prac- 
tically renewed by a modern sculptor, 
Sarrocchi, in 18G9. 

Palazzo Buonsignore, one of the 



finest and most characteristic of the pal- 
aces of Siena, dating from the xiv century. 
The faQade, of brick and terra-cotta, is in 
four stories, of which the first has high 
pointed brick arches, alternately large and 
small, with low segmental arches spring- 
ing from the same thin impost moulding. 
The second and third stories are alike, and 
consist of ranges of triple windows, the 
openings pointed and cusped and sepa- 
rated by slender shafts, each window cov- 
ered by a high pointed bearing-arch of 
brick. Under each story runs an arcaded 
string-course. A larger and richer arched 
corl)el -table above supports a frieze under 
the projecting wooden eaves, pierced by 
small square windows, alternating with 
square quatrefoiled panels enclosing heads 
in relief. The plan of the palace is a 
square of about TG ft. and includes on the 
ground-floor an entrance vestibule stretch- 
ing nearly across the front, leading to a 
court with arcades on three sides. The 
principal flooring-beams in tlie various 
stories rest on wooden brackets carved with 
great richness. 

Palazzo Grotaxellt. This palace, 
which dates from the xiv cent., has a 
fa9ade of the Sienese type something over 
100 ft. in length, in two stories of pointed 
arches ; the first story of stone, with plain 
segmental sub-arches, tlie second of brick, 
with coupled lights and mullion shafts. 
The front is finished with an arched cor- 
bel-table with square battlements above. 

Palazzo Marescotti, a fine xiii cent, 
palace with a fayade following the broken 
street-line, about IGO ft. long, in three 
higli stories, the first two of stone, the 
third of brick. The first story has a line 
of tall narrow segmental arches, carried 
on square piers, and capped by pointed 
bearing - arches. The second and third 
stories have each a line of trijile windows 
with pointed openings, divided by slender 
columns and enclosed by a pointed bear- 
ing-arch. The front is crowned by a sim- 
ple cornice with square battlements. A 



461 



SIENA 



low square battlemented tower rises from 
its left angle. 

Palazzo Piccolomini (now Del Go- 
verno), the most important of a group of 
Sienese palaces during tlie second half of 
the XV cent., and having all the char- 
acteristics of the great Florentine palaces 
of the same epoch. It was built for Pius 
II., about the year 1469, by Bernardo Eos- 
sellino, the architect of his buildings at 
Pienza. Its principal faQade is about 135 
ft. long and 95 ft. high, in three lofty 
stories of rustic stone masonry. The first 
story has a range of round arches with a 
central doorway, and over them is a mez- 
zanine with small square windows. The 





Fig. 211 .—Siena, Pal. Pubblico. 



second and third stories have each a range 
of nine broad two-light windows, round- 
arched, with sub-arches divided by a col- 
umn. Vigorous string-courses with den- 
tils run under the windows, and the front 
is crowned by a bold and well-developed 
corniccione with plain square windows in 
the frieze. The design above the first 
story is an almost exact copy of that of the 
Strozzi palace in Florence. 

The Palazzo Pubblico, originally the 
Palazzo della Eepubblica, one of the most 
notable examples of a remarkable class of 
mediaeval buildings, was built in 1289- 
1309 by Agostino and Angelo da Siena. 
It has a fa9ade of stone below and brick 
above, on the great 
square of the town, 
making a broken line 
about 200 ft. long, three 
stories in height, with 
the central portion car- 
ried up another story 
and finished with angle 
turrets as a low tower. 
The openings are all 
pointed arches, except 
those of the upper story 
of the central tower. In 
the first story they are 
plain, in the other two 
stories they are filled 
with triple sub-arches 
pointed and cusped, 
with mullion-shafts un- 
der solid tympana. 
Above the second story 
of the wings runs an 
arched corbel-table, as 
if they had originally 
stopped there ; a simi- 
lar one crowns the cen- 
tral tower. The win- 
dows rest on light 
string-courses, and the 
walls are crowned with 
square brick battle- 
ments. At the angle of 



iHi 



SIPONTO 



the fagade rises perhaps the most striking 
and graceful of Italian bell-towers, a plain 
square slender brick shaft capped by a 
battlemented cornice over arched corbels 
of extraordinary depth and projection, 
above which is a square stone belfry with 
a single round-arched opening in each 
face and an arched corbel - table with 
square battlements. This tower, which is 
285 ft. high, dates from 1335-1345. At 
its base projects an open loggia, with a 
single great round arch on each face 
springing from square piers, with niches 
containing statues. It was built as a 
chapel in 1376, an offering vowed for the 
cessation of the plague in 1348, which is 
said to have carried off eighty thousand 
of the population of the town. The 
buildings enclose an interior court, sur- 
rounded by a noble vaulted arcade of sim- 
ple round arches on octagonal piers with 
foliated capitals, supporting two stories of 
wall, of which the lirst has triple windows 
like those of the fa9ade, and the upper 
simjile round-headed openings. The pal- 
ace contains several great halls decorated 
with remarkable frescoes by the ancient 
Sienese masters. {See Fuj. 211.) 

Palazzo RpANOccni, a xv cent. Re- 
naissance palace much like the Piccolo- 
mini palace, but smaller. It has a fa9ade 
of rustic stone work in three stories, about 
75 ft. wide and 80 ft. high. The first 
story lias a range of five equal round 
arches ; the two upper stories have each 
five windows with two round-headed 
lights divided by a column under a round 
arch. String-courses with dentils run 
under the windows, and the front is 
crowned with a strong projecting cornic- 
cione with brackets, between which are 
medallions with heads in relief. The pal- 
ace was begun in 1473 from designs by 
Bernardo Rossellino, or, as some say, of 
Francesco di Giorgio. 

Palazzo Tolomei, a good example of 
the smaller palaces of Siena during tlic 
XIII century. It has a simple, vigorous 



fa9ade of stone about 60 ft. broad and 
112 ft. high, in four stories, of which the 
first, covering with its mezzanine a height 
of nearly 40 ft., has a central square door- 
way under a pointed arch, with a smaller 
doorway on each side and plain square 
mezzanine windows above. The three 
upper stories are alike, each having five 
large two-light pointed windows, with 
muUion-shafts and tracery resting on thin 
string-courses. The fa9ade is fiiiished 
with an arched corbel-table and square 
battlements. 
SIPOXTO, Italy. 

The Cathedral (Sta. Maria Maggiore), 
now abandoned, is a singular and interest- 
ing example of early xi cent, architecture 
altered in the xii and xvi centuries. Its 
plan is a square of about 60 ft., with 
small semicircular apses on the east and 
south. It contains an under church and 
an upper, tlie lower being the oldest por- 
tion of the building. This is about 44 ft. 
square, divided into twenty-five square 
groined bays by round arches springing 
from Corintliian columns, M'itli semicircu- 
lar apses opening from the middle bay on 
the east and south sides, and an entrance 
doorway on the north. The four columns 
nearest the angles were replaced, proljably 
in the xii cent, rebuilding, by massive 
round piers, to bear the weight of the 
piers of the upper church supporting the 
central dome, which are connected by four 
great pointed arches over which is a low 
groined dome with a flat external roof and 
small lantern. The aisles on the four 
sides of this central square are covered by 
pointed barrel-vaults, and the square bays 
at the angles are groined. There are two 
semicircular apses over those below. The 
exterior is partly ruined. The facade 
has a square door in the middle, with 
round bearing-arch, between two columns 
on lions, and surmounted by a low gable 
now mostly gone. On each side of the 
doorway are two round blind arches on 
columns, much in the Pisau style, with 



463 



SIRACUSA 



inlaid lozenges between the shafts. The 
easterly apse^ arcaded;, with iiat pilasters 
decorated with mosaic, has on either side 
two blind arches like those of the front. 
The church is believed to have been be- 
gun in 1010, and finished in 1037, but 
was substantially rebuilt in the beginning 
of the following century, and consecrated 
anew by Pope Pascal II. in 1117. A sec- 
ond restoration took place in the xvi 
century. 

SIRACUSA, Sicily. See Syracuse. 
SKYTHOPOLIS. See Beisan. 
SOAISTA (Sovana, anc. Suana), Etruria, 
Italy. 

The Necropolis abounds in Etruscan 
sculptured rock-fa9ades of much interest, 
and presenting original features. One, 
called La Fontana, has over a shallow 
arch simulating a doorway a rudely shaped 
pediment which is carved with a female 
figure resembling the Greek Scylla, and 
other subjects. In a cliff called Poggio 
Prisca there is a long line of fa9ades of 
the general character of those of Norchia 
and Castel d'Asso, with doors converging 
upward, horizontal mouldings, and heavy 
concave cornice over a torus, thus pre- 
senting a pseudo-Egyptian or Phoenician 
type. The Grotta Pola resembles the 
fa9ade of a pedimented temple, with col- 
umns of Corinthian tendency, but show- 
ing human heads among the foliage of 
the capitals. These monuments are not 
considered to be very early in date. 
SOLMONA, Italy. 

The Aqueduct, built in 1256, accord- 
ing to the long inscription still remaining 
at the end of it, over the fountain, is one 
of the finest medifeval works of the kind. 
It is well built of large blocks of stone, and 
consists of a series of broad pointed arch- 
es, resting on square piers surmounted by 
a simply moulded plinth. Starting in 
the main square, it takes a bend, and ris- 
ing as it proceeds, cuts through tlie city. 
[A. L. F., Jr.] 

The Church of S. Feancesco was built 



in 1290 or 1294 by Charles II., of Anjou, 
and must have been one of the finest 
works erected by him, for Solmona was 
his favorite city. The remaining part of 
the fa9ade, with its colossal round-arched 
portal, is the most impressive work in this 
city, which is full of Gothic and Renais- 
sance buildings. The height of the door- 
way is about 30 ft. [A. L. F., Jr.] 
SORA, Italy. 

S. DoMEXico, an ancient basilica some 
two miles east of the town, consecrated in 
110-1 by Pope Pascal II., and consider- 
ably altered in 1680. Its plan is rectan- 
gular, with nave and aisles separated by 
five arches on each side, springing from 
sections of wall, with corresponding pilas- 
ters on the aisle-walls, but with no trans- 
verse arches nor vaulting. The transept 
is rectangular, with three eastern apses, 
and with a crypt under it divided into 
seven aisles of three bays each, the middle 
aisle broadest. The crypt vaulting is car- 
ried on sixteen marble columns, and there 
are here three apses as in the upper 
church. 

SOVANA. See Soana. 
SPALATO, miscalled Spalatro, Dalma- 
tia. 

The Baptistery, or church of St. John 
the Baptist, is the small temple of Diocle- 
tian's palace, standing west of the peri- 
style, and is said to have been dedicated to 
^Esculapius. It is rectangular, on a lofty 
podium with vaulted crj-pt beneath, and 
had originally a tetrastyle Corinthian por- 
tico, now destroyed together with the 
front pediment. Tlie interior, which has 
been perfectly preserved since its erec- 
tion, is covered by a barrel-vault of stone 
sunk in square coffers. This vault is 
built of huge stones, of which three 
courses complete the semicircle, and forms 
the exterior roof of the temple between 
the two end pediments. The doorway, 
15 ft. high, is formed of three pieces, 
the head being mitred to the jambs. It is 
bordered by sculptured scroll work in 



4t)4 



SPALATO 



which figures and animals are entwined, 
all roughly and hastily executed. The 
baptistery contains a cruciform marble 
font made up of various fragments, and 
sculptured with grotesque figures. A fine 
Roman sarcophagus which formerly stood 
on the platform before the temple has 
been removed to the museum. 

Cathedual (Duomo). The temple 
in Diocletian's palace supposed to have 
been dedicated to Jupiter, but more 
probably the emperor's mausoleum, is 
now the duomo of Spalato. It stands in 
a small court east of the peristyle of tlie 
palace, from which a flight of steps leads 
up to it. It is octagonal with a sur- 
rounding Corinthian peristyle, and had 
formerly a jirojecting porch in front, now 
replaced by a campanile. A low, red- 
tiled pyramidal roof with xiii cent. Ro- 
manesque finial covers the building and 
conceals an interior dome. Beneath the 
church is a roughly vaulted crypt ap- 
proached by a passage i;nder the entrance 
steps, and lighted by openings in tlie 
pavement of the peristyle. Tlie interior 
is a circular chamber i'-i ft. in diameter, 
divided into eight bays by two orders of 
detached columns. The entrance occu- 
pies one bay, and the others contain large 
arched niches alternately square and semi- 
circular. The columns of tlic lower order 
are of granite with Corinthian capitals; 
those of the upper one are alternate pairs 
of granite and porphyry. The columns 
are purely ornamental and support only 
returns of tlie two entablatures wliieh 
surround the building. Tliese are riclily 
though rudely decorated, but in design 
depart widely from classic models. Tlie 
upper columns are but seven diameters 
high and without bases. At the level of 
their Composite capitals a sculptured frieze 
surrounds the wall with figures of winged 
boys and animals. The dome is con- 
structed for half its height of a series of 
brick relieving-arches curiously arranged 
like scales. Two elaborate Gothic cauo- 



liied shrines occupy the niches on either 
side the high altar. The pulpit is a pure 
Romanesque work of the xiii cent., in 
fine limestone and variously colored mar- 
ble. The body, elaborately carved, is 
hexagonal, decorated with coupled col- 
onnettes, and stands on six octagonal col- 
umns united by round arches. There are 
some carved choir stalls of the xiii and 
XV cents., in a modern rectangular choir 
built to the east of the church and con- 
nected Avith it by a door cut through the 
wall opposite the entrance. The whole 
building has been recently restored, much 
to the injury of its antique character 
The entrance to the church is through 
tlie interesting campanile belonging to 
the xiv-xvi cents., which has replaced 
the original portico. This is of five 
stories, square in plan, surmounted by an 
octagonal lantern and low spire. Its 
foundation is unknown, but the first two 
stories are ascribed to Maria of Hungary 
(d. 1.'32.'5). Both have exterior arcading 
constructed of antique columns and capi- 
tals, and enriched with sculpture of By- 
zantine and Venetian character. The 
next three stories, attributed to the xv 
cent., are rich in porphyry and verd-an- 
tique spoils from older buildings. Their 
grouped openings are round-ai'ched with 
midwall shafts. 

Palace of Diocletian, built by Dio- 
cletian, who was born in Salona, three 
miles N. E. of Spalato. and after his ab- 
dication (a.I). 305), spent here the last 
nine years of his life. It was a fortified 
palace, somewhat in the foi'in of a prEeto- 
rian camp, of nearly rectangular form, 
5!V2 ft. on the south side. 5T0 ft. on the 
north side, and 698 ft. on the east and 
west sides, thus enclosing more than eight 
acres. The south side, overhanging the 
sea. was entirely occupied by a magnificent 
open arcaded portico 24 ft. Avide. The 
other sides were lofty walls of solid and 
plain construction, broken by ten massive 
square towers, regularly disposed. In the 



465 



SPARTA 



middle of each side was a great gate, 
flanked by octagonal towers, giving access 
to two streets 36 ft. wide crossing at right 
angles in the centre of the quadrangle, 
thus practically dividing it into four 
blocks of buildings. These streets were 
bordered by arcades 13 ft. wide. The two 
north quarters are an indistinguishable 
mass of ruins ; they were probably occu- 
jDied by guests and officers of the palace. 
The street running north and south is the 
principal avenue. It is entered at the 
north end by the Porta Aurea (golden 
gate) ; in the middle of this side and after 
crossing the other avenue, is the centre of 
the quadrangle ; it opens into the great 
court of the palace, now the Piazza del 
Duomo, a large square surrounded by an 
arcade supported on each side by six 
granite Corinthian columns Avitli marble 
lattices between. At the south end of the 
court a flight of steps gave access to 
a tetrastyle Corinthian portico, which 
opened into the vestihulum, a circular 
apartment 38f ft. in diameter, lighted 
from the roof. Beyond this was the 
quadrangular atrium, 98 ft. by 45 1 ft. (in 
the centre of the seaward front), from 
which access was had on the east and west 
sides to a magnificent suite of apartments, 
occupying the principal part of the south 
front. Beyond these on the right were 
the private apartments of the emjieror. 
On each side of the court of the palace, 
near the centre, there is an area of 154 ft. 
by 94 ft. , containing a monumental struct- 
ure ; that on the east the so-called Tem- 
ple of Jupiter, now the Duomo {q. v.), 
which is in fact the Mausoleum of Dio- 
cletian, and on the west side the Temple 
of ^sculapius, now the Baptistery {q. v.). 
The material is a limestone but little 
inferior to marble, from the quarries at 
Trail. The arches of the central court are 
of great importance in the history of archi- 
tecture as the earliest to which a pre- 
cise date can be assigned, which consist- 
ently spring directly from the abaci of 



the columns, abandoning the earlier Eo- 
man fashion of an intervening piece of en- 
tablature. The same principle was ap- 
plied at nearly the same time in various 
Syrian buildings. The Palace of Diocle- 
tian thus at once belongs to the decadence 
of purely Roman art, and marks the dawn 
of the era of modern art. 
SPARTA, Greece. 

Amphitheatbe, east of the Acropolis, 
near the river ; a brick building of late 
Roman period. Leake calls it a circus, 
and thinks it perhaps the smallest in ex- 
istence. It is nearly circular ; the greater 
diameter being 180 ft., that of the arena 
62 ft. The walls, about 16 ft. thick, are 
supported on the outside by large but- 
tresses at small distances apart. No seats 
remain. 

Theatre, on the S. W. side of the hill 
of the Acropolis, in which it is partly ex- 
cavated ; but the wings of the cavea are 
wholly built in stone. The stage struct- 
ure is a Roman construction of brick. 
The exterior diameter is over 430 ft., or- 
chestra about 105 ft. The seats are mostly 
or entirely gone. Pausanias says it was 
built of white marble and was one of the 
sights of Sparta. The remains are in 
great part hidden under earth washed 
from above. 

Tomb of Leoxidas (opposite the Thea- 
tre), whose bones were brought from 
Thermopylse and placed in it forty years 
after his death. The name is popularly 
given now to an imposing ruin about 45 
ft. by 23 ft., built of large quadrangular 
blocks, which stands to the north of the 
modern town. This ruin is apparently 
a heroon, but can hardly be tliat of Leoni- 
das, as it is too far from the theatre to 
agree Avith the ancient record. 
SPELLO (anc. Hispellum or Colonia 

Julia), Italy. 

Cathedral (Sta. Maria Maggiore) a 
church that was Gothic, entirely trans- 
formed in aspect during the xvi cen- 
tury. It has an aisleless nave in four low, 



466 



SPOLETO 



groined bays, and a choir tliat ends in a 
seven-sided apse. Tlie baldacchino over 
the high altar, a domed canopy on four 
light columns, of very graceful detail, and 
one of the most elegant examples of the 
early Eenaissance, is the work of Rocco of 
Vicenza, who remodelled the choir in 
1515. The fa9ade, of IGGl, has an ef- 
fective portal. 

S. Andrea, belonging to the Francis- 
cans, is a cruciform church with a single 
nave and three apses, built after the middle 
of the XIII century. The four bays of its 
nave have oblong groined vaults with pen- 
tagonal ribs, and are similar to those of the 
Cistercian churcli of Monto I'Abate {q. v.). 
Similar oblong vaults cover the three com- 
partments of the transept. [A. L. F., 
Jr.] 

The Tru'mimial Arch is supposed to 
have been dedicated to the emperor 
Macrinus (a.d. 217). It is very ruinous ; 
as restored by Rossini it had a central 
arch with a smaller arch on each side, 
separated by four Doric pilasters support- 
ing an entablature, above which was an 
attic with six engaged Doric half -columns. 

The ancient Walls, with towers, are in 
themselves noteworthy, and preserve im- 
portant remains of three gates. One of 
these, the Porta Consolare, is built of 
limestone resembling marble, and lias 
three arcliways. On the exterior face, on 
consoles over the arches, stand draped 
statues of late date. Anotlier gate, the 
Porta Yenere, on the S. W. side, has a 
decorated triple archway causing it to 
resemble a triumplial arch ; it is flanked 
by two towers of miich later date. Tlie 
Porta Urbana, between the two others, 
in a fine stretch of ancient wall, is now 
blocked up. About a mile outside of tlie 
Porta Consolare are ruins of an amplii- 
tlieatre, now ovci'grown with grass. 
SPOLETO (anc. 'Spoletium),^Italy. 

Cathedral (Sta. Maria Assnnta), orig- 
inally a Lombard or Romanesque build- 
ing, now much modernized, especially 



within, but retaining on the exterior 
much of its first character. The fa9ade 
has a noteworthy Renaissance porch with 
five circular arches, springing from an- 
cient columns, and above these a frieze 
charged with sculpture. At each angle of 
the porch is a stone pulpit. In the gable 
is a fine rose window, and the rake of the 
gable is masked by a gallery. Over the 
porch is a large mosaic of the Saviour 
tlironed between the Virgin and St. John, 
and bearing the name of the artist. Salse- 
ruus, with the date 1207. The bishop's 
chair was removed to tliis church from 
S. Pietro, the earlier c;ithedral, in 1067, 
tliis being nearly the date of the comi^le- 
tion of the interior of the present church. 
There is a great campanile with a loggia 
at its base, and terminated by a spire, the 
former added in 141G, the latter in 1519. 
The interior, which was rebuilt in 1014 
in the Renaissance style, is remarkable 
only for its frescoes dating from 1378 and 
later. Those in tlie choir are by Filippo 
Lippi, whose tomb is here. 

Sta. Maria di Loreto, a xvi cent. 
Renaissance church, covering a square of 
about 120 ft., but inwardly a Greek cross 
with three square arms covered by barrel- 
vaults, and one semicircular, the latter 
forming the choir and covered by a semi- 
dome. The interior is surrounded by an 
order of Corinthian iiilasters, from tlie en- 
tablature of which sjjring the barrel-vaults 
of the ai'ms and four great round arches, 
upon which it was manifestly intended to 
raise a. central dome, which, however, was 
never built. The angles of the square are 
filled Avith chapels and sacristies. The 
architect is not known. 

S. Pietro (St. Peter), a singular Ro- 
manesque church, standing just outside 
the walls of the town, on a hill, and ap- 
proached by a long staircase. The fa9ade 
is a square mass of stonework with much 
curious sculpture, in two stories separated 
by a quasi-classic cornice. The first is 
very high and divided by flat pilasters 



467 



STAMBOUL 



into five compartments, of which the cen- 
ti'al one contains a large square doorway, 
sni'rounded by a broad band of sculpture 
of Byzantine character, flanked by two 
panels of similar treatment, with arcades 
and bas-reliefs. Above the door is a cir- 
cular Avindow, now walled uj), and di- 
minished to a horseshoe arch by the en- 
croaching door-head. On either side of 
the central division is a vertical row of 
panels filled with gi'otesque bas-reliefs. 
The side divisions have each a square door 
with a round bearing-arch above it. The 
second story has a large circular window 
in the middle, now partially filled up, en- 
closed in a square panel with decorated 
border and figures in the four corners. 
On either side is a small circle with coarse 
Gothic tracery, and a similar circle over 
each of the side doorways. The interior 
is modernized. This church in its origi- 
nal form dates probably from the middle 
part of the vi cent., and was until 1067 
the cathedral church. During the fierce 
wars of the following centuries it was suc- 
cessively destroyed by Goths, Saracens, 
and Ghibellines, and as often rebuilt, the 
last rebuilding having been accomplished 
in 1329. The fa9ade, or at least its lower 
story, is probably much earlier than this, 
and a part of its grotesque sculptures are 
thought to be as old as the end of the vi 
century. 

Among the remains of antiquity are the 
Porta d'Annibale, a plain arched gate- 
way in massive masonry spanning the 
principal street. The relief of a lion de- 
vouring a lamb is a mediaeval addition. 
The Cliiesa del Crocifisso, whose fa9ade 
and interior disposition are those of a 
Christian basilica of the time of Con- 
stantine, retains some of the columns 
and portions of the walls of a temple be- 
lieved to have been that of Concord. S. 
Andrea, now used as barracks, possessed 
fluted Corinthian columns from the tem- 
ple of Jupiter, and in San Giuliano are 
seen fragments of the Temple of Mars. 



A massive ruin is called the Palace of 

Theodoric. 

STAMBOUL. See C'oiistantmople. 

STILO, Italy. 

La Cattolica, a small but charac- 
teristic example of a Byzantine church. 
It is a cubical mass only about 25 ft. 
square, its plan divided in Byzantine 
fashion into nine bays by cross arches sup- 
ported on four plain marble shafts with- 
out bases, and with rude block cajDitals. 
In the east side are three round apses. 
The central bay is covered by a hemi- 
sperical dome on a high drum, the four 
bays that abut against it forming a Greek 
cross are barrel-vaulted, and the four 
corner bays covered with domes like the 
central dome, but lower. The exterior 
is of brick, each side being covered by a 
low gable. In the west side is a plain 
high round-arched doorway. Out of the 
roof rise the five domes, but aj^peaiing 
each a cylinder with low tiled roof. The 
wall surface in all is covered with a fine 
diaper in terra cotta. Under the church 
is a crypt, with vaults carried on columns 
with capitals of various form, some with 
stilt-blocks. The date of the church is 
uncertain, but it lias been assigned to the 
VIII cent., and more probably to the ix. 
STIRIS, near Delphi, Greece. 

The Cojv-VENT OF St. Luke, founded in 
the middle of the x cent., contains two 
early Byzantine churches ; the larger, dat- 
ing probably from the beginning of the 
XI cent., is one of the most important and 
best preserved Byzantine churches in 
Greece. It has banded walls of brick and 
stone, two stories high, with a central 
dome on a drum of sixteen sides above a 
square base, from which radiate the roofs 
of the nave, choir, and transept, ending in 
gables in the middle of each fagade. It is 
about 55 ft. by 100 ft., and is entered 
from the west through a plain narthex 
later than the rest, crossing the front. 
Within this is the original narthex, in 
three groined bays lined throughout with 



468 



STEATONICEA 



a rich facing of marbles. The great dome 
is carried not on pendentives, but on 
squinches, by eight piers. An upper gal- 
lery over the aisles corresponds to the sec- 
ond story of the exterior, crossing the 
transept on arcades, and connecting with 
the upper story of the original narthex. 
It is entered from without, and was doubt- 
less intended as a gyneca^um, or women's 
gallery, for the community outside the 
monastery. The sanctuary, behind the 
dome, is a square bay, widened by a shal- 
low niche on each side, and behind it is 
the usual Byzantine apse, round within 
and polygonal without, lined with stone 
benches for the clergy, and lighted by two 
stories of twin windows. The whole in- 
terior, up to the springing of the vaults, 
is clad in a rich wainscoting of colored 
marbles ; the iconostasis, or screen before 
the sanctuary, is an elaborately decorated 
com2)osition of like materials, and the 
floor is laid witli them in shibs and bands. 
All the vaults and domes, including those 
of the inner narthex, are lined with mo- 
saics on a gold ground depicting in great 
variety scenes from tlie lives of Olirist and 
of the saints, and from Bible history, Avith 
a profusion of ornamental detail, giving 
an effect of great splendor, thougli marred 
by dilapidation and dimmed by the block- 
ing up of many wimlows. 

Adjoining the greater cliurcli. on tlie 
riglit of its sanctuary, is the smaller and 
simpler church, on the common ]5yzantine 
plan of a Greek cross inclosed in a square, 
with a central dome on four round piers, 
and three eastern apses of Byzantine form. 
Across the front of it is a great narthex, 
three bays in width and two in depth, 
groin-vaulted, and communicating with 
the greater clmrch. 

yTRATONICEA (Eski - Ilissar), Caria, 
Asia Minor. 

The Tkmi'lk of Hecate (?), Corinthian, 
hexastyle, prostyle, is raised on a base- 
ment with six stops in front, between pro- 
jecting piers. Behind the front portico 



the temple has a pronaos with four col- 
umns in antis, and behind this a vestibule 
formed by ant^ projecting at right angles 
from the side walls, and with two columns 
in the open sjiace between them. At 
either side of the vestibule there were 
small chambers, which may have contained 
stairs. Back of the vestibule were three 
cellas side by side, each with its own door. 
That on the left-hand side appears to have 
had also a second door, in the exterior 
side wall. Tlie extreme dimensions are 
80 ft. by 115 ft. Fragments remain of 
the coffered ceilings. The temple stood 
in tlie middle of a large square peribolos 
or enclosure. 

The ancient Walls, with rectangular 
towers, have left extensive remains, and 
tliere are a number of important ruins 
within the enclosure. Among these there 
is, on the north side, what was apparently 
a monumental pro])yla3um, with arches 
preceded by a portico of ten unfluted Co- 
rinthian columns on the inner face. At 
some distance in fi'ont of this, and in 
alignment with it, there was a large co- 
lumnar structure, also with a decastyle 
portico. Outside the walls was an ex- 
tensive street bordered with porticoes, be- 
ginning at tlie projjylajum. 
STRATOS, Acarnania, (iroece. 

DoRK" 'J^HMPLE, peripteral, in phui 111^^ 
ft. l)y ()() ft. The crepidoma survives en- 
tire, and the lowest drums of most of the 
columns remain in place. A large altar 
stands before the east front ; near it were 
found a quantity of fragments of terra- 
cotta figurines. In the neighborhood of 
the temple tlie French School has discov- 
ered a largo building of the character of a 
stoa, which may have fronted on the 
agora. 
SUBIACO, Italy. 

Sta. Scolastica was one of twelve 
inouasteries founded by St. Benedict in 
the neighborhood of Subiaco, all of which 
came to be populous and richly endowed. 
They were devastated by repeated incur- 



469 



SUESSA 



sions of the Lombards and Saracens in the 
VII and VIII centnries. The okl church 
of Sta. Scohxstica was restored in 981 by 
Benedict VII. (who built also the chapel 
of the Sacro Speco), its low roof being sup- 
ported by five great pointed cross-arches. 
It was rebuilt in the xviii cent., by Pius 
VI., with an order of Ionic columns set 
against the old piers, supporting an en- 
tablature, from which springs a circular 
barrel-vault divided by transverse arches. 
The choir, a single oblong bay with semi- 
circular apse, remains, but quite modern- 
ized to accord with the new nave. The 
five great arches of the old church still 
remain, the new vault of the nave being 
built under them. ' The square mediaeval 
tower also remains, in several stages, with 
grouped round-arched windows divided by 
columns. The two cloisters of the old 
monastery are still in existence : the larg- 
er one, dating from 1052, has two stages, 
the lower, strange to say, with plain point- 
ed arched openings in a solid wall, and 
a second story of dormitories with small 
square windows. The other cloister dates 
from 1230 and has slightly stilted round 
arches on slender columns in groups of 
four, five, and six, between piers, and 
raised on a stylobate. 
SUESSA AUKUNCA. See Sessa. 
SUNIUM, Attica, Greece. 

Temple oe Athena Sunias (Pallas of 
Sunium), on a rugged promontory forming 
the southernmost point of Attica. The 
walls of the peribolos, built of coarse 
stone faced on the outside with white mar- 
ble, may be traced down to the shore. 
The entrance was perhaps through propy- 
laea. The temple was probably of the v 
century B.C. It was Doric, hexastyle, pe- 
ripteral, on a stylobate of three steps ; the 
material coarse white marble. Nine col- 
umns are still standing of the south peri- 
style and two of the opposite side. Two 
columns of the pronaos survive, with one 
of the antse and a portion of the other. 
The architrave blocks still rest upon the 



columns. The frieze was sculptured with 

reliefs representing the deeds of Theseus, 

particularly the battle of the Centaurs and 

Lapiths. 

SIJR. See Tyre. 

SUSA (anc. Segusio), Italy. 

Triumphal Arch of white marble, 
erected in honor of Augustus about 8 B.C., 
by the Gallic chieftain Cottius, who be- 
came in his reign an ally of the Eoman 
empire. The inscription on the attic 
enumerates fourteen tribes subject to 
Cottius. The ground-plan measures 29J 
ft. by 191 ft.; the height is 41 ft. The 
monument is pierced with a single arch- 
way of 16 ft. sj^an and 24^ ft. high, hav- 
ing a pilaster with Corinthian capitals 
on each side, and encircled by a Corin- 
thian order with a fluted column at each 
corner, on a pedestal 2| ft. high. 
SUTRI (anc. Sutrium), Etruria, Italy. 

Amphitheatre, hewn from the tufa 
rock, the only such example known. It 
is small and somewhat irregular in plan, 
probably owing to its having been formed 
in a pre-existing stone-quarry. It is as- 
signed to the imperial epoch, though 
early students held it to be Etruscan. 
The axes of the arena are 164 ft. and 132 
ft. ; the surrounding podium is skirted by 
a vaulted corridor, a very rare feature. 
Precinctions interrupt the tiers of seats 
at frequent intervals, and a broad gallery 
surrounds the top of the auditorium. At 
intervals about half-way up the slope of 
the seats are placed nine curious arched 
alcoves, sheltering benches, probably seats 
of honor for the local magistrates. The 
vomitoria are interesting and very per- 
fect, as are the arrangements for drain- 
age. 
SUWEDA, Han ran, Syria. 

The ruined Basilica is a large church, 
with double aisles, a closed narthex, and 
a deep sanctuary of two straight bays and 
a round apse, flanked by the two iisual 
chambers or sacristies. The whole length 
is 220 ft., the width of the nave 40 ft. 



470 



SUWEIDIYEH 



There were double arcades on eacli side 
the nave, supported by twenty-eight col- 
umns, some of whose rather rude capitals, 
apparently taken from some older build- 
ing, are still found. The aisles, sanctuary, 
and narthex were roofed with stone slabs 
and the nave with wood. The church 
was probably built in the v century. 

Temple, with thirteen Corinthian col- 
umns standing out of the twenty-two of 
its peristyle. There are some smaller col- 
umns in situ in the interior of the cella. 
The design of capitals and cornice is stiff 
and poor. 

Tomb of Chamra, wife of Odenathus, 
dating probably from the i century a.d. 
It is of square plan, about 36 ft. on a side, 
and of massive construction. On a stere- 
obate of two steps stand on each face six 
somewhat rude engaged Doric semi-col- 
umns, the wall between which bears cu- 
rious round and oval knobs. The total 
height was about 40 ft. 
SUWEIDIYEH. See SeUucia Pieria. 
SYRACUSE (Siracusa), Sicily. 

Altar of IIiekox II., near tlie theatre, 
discovered in 1839. This gigantic altar, 
built for the annual sacrifice of four hun- 
dred and fifty oxen, was reputed in antiq- 
uity to be a stadium (furlong) in length. 
The substructions were partly cut from 
the rock and partly constructed of mason- 
ry, and are adorned with mouldings, and 
covered in parts with stucco. Part of the 
steps ascending to the platform survive, 
and portions of a Doric entablatui'e of late 
type. The existing foundations are G45 
ft. by 75 ft. The altar was built or re- 
stored by Hieron between 2G5 and 215 

B.C. 

Amphitheatre, on tlie slope of the 
hill below the present chapel of S. Nieco- 
lo. It is probably of the time of Augus- 
tus or Tiberius (a.d. 28-37). On one 
side it is excavated in the rock, but it is 
built up with masonry on the lower slope. 
The arena, whose axes are 229 ft. aiul 121 
ft. J is surrounded by a podium about 7 ft. 



high, iinder which there is a vaulted cor- 
ridor with eight gates, opening into the 
arena. In the middle of the arena is a 
rectangular cistern 55 ft. by 28 ft., in which 
stand the piers that supported the floor. 
Tlie seats were in three ranges : the two 
lower ranges, hewn from the rock, still 
remain in the eastern half, but are nearly 
gone on the west side. The arena could 
be supplied with water from a subterra- 
nean reservoir under S. Niccolo. 

The Cathedral (Sta. Maria delle Co- 
lonne) is built into an old temple which is 
identified with the temple of Athena 
(Minerva), built in the vi cent. B.C., de- 
spoiled by Verres, and described in Cicero's 
orations against him. The cella was 
taken for the nave, the main arcades 
being cut through its walls ; the lateral 
porticoes became the aisles, and the Avails 
of the church were built in between the 
columns (7 ft. in diameter) of the peri- 
style, which show in many places, both 
outside and inside. In 1G93 an earth- 
quake shook down the front, which in the 
course of half a century was replaced by 
the modern baroco fagade. The temple 
was Doric, hexastyle, peripteral, Avitli 
fourteen (perhaps fifteen) columns on the 
flanks, on a stylobate of three steps ; in 
plan it measured 75 ft. by 188 ft. The 
columns have twenty channels ; their 
diameter is, at the base, 7 ft., at the neck, 
5 ft. (?) ; their heiglit, 28 ft. 7 in. ; the 
intercolumniation, 14 ft. 4 in. Tlicre is 
but little entasis ; the triglyphs are nar- 
row ; the cornice lias wliolly perished. 
Thirteen columns remain of the north 
jicristyle, and nine of the soutli, as well as 
the two monolithic columns in an/is of 
tlie pronaos, which are higher than the 
peristyle columns. The opisthodomos was 
destroyed when the temjile was converted 
into a church. 

Fort Euryalos, now called Mongibel- 
lesi, on the ridge between the citadel and 
the village of Ik^vedere. It is a massive 
construction of rectangular masonry, with 



471 



TADMOR 



broad, square towers, and was skilfully 
placed so as to form the key of the entire 
system of fortifications. It is still one of 
the best surviving examples of an ancient 
citadel. The site was strongly fortified 
by the Syracusans in the course of the 
Athenian Expedition, but the existing re- 
mains are attributed to Hieron II. (ii 
century B.C.). 

The Olympieum, or Temple of Olym- 
pian Zeus, abont two miles west of Ortygia 
(the modern city), was an important tem- 
ple in which were preserved the ancient 
lists of citizenship, and may be assigned to 
the end of the vil century b. c. The visible 
remains consist only of two mutilated col- 
umns. The temple was Doric, hexastyle, 
peripteral ; the columns, of sixteen chan- 
nels, have a base diameter of about 6 ft. 
2 in., and an intercolumniation of about 
12 ft. Their height is estimated at 26 ft. 
Interesting remains have been found of 
the revetment of the cornice and other 
ornament in painted terra-cotta. 

Temple of Apollo. See Temple of 
Artemis. 

Temple (of Artemis ?) on the Island 
of Ortygia, an archaic example of Doric 
of which the scanty remains are now vis- 
ible in the wall of a private house in the 
Vico di San Paolo. It was peripteral, hexa- 
style, with seventeen monolithic columns 
on the flanks, on a stylobate of four steps, 
with very narrow intercolumniations on 
the flanks (the front intercolumniations 
are larger and vary) and shafts with six- 
teen channels, tapering but little. The 
capitals are wide-spreading, so that the 
abaci come very close together, and there 
is a scotia beneath the echinus. Parts of 
nineteen columns survive, with a fragment 
of the architrave and parts of the antse 
of the pronaos and of the cella wall. 
The dimensions were about 77 ft. by 172 
ft., the columns are 6 ft. in diameter at 
the base, 5 ft. 1 in. (?) at the neck, and 
27 ft. 6 in. high, the material is a yellow 
tufa. An inscription on the stylobate 



contains the name of Apollo, whence some 
authorities attribute the temple to that 
god. A flight of steps projects before the 
central intercolumniation of the front, 
and an inner range of four columns, ex- 
tending between the third columns of the 
flanks, intervenes between the front and 
the pronaos, which had two columns in 
antis. There were no regulge and guttis. 
The type of the temple is akin to that of 
Temple C at Selinus ; it dates at least 
from the VII cent. B.C., perhaps from the 
VIII, and may even be the oldest surviving 
example of a Doric temple built wliolly in 
stone. 

Theatre, among the largest of the 
Greek world, built between 480 and 406 
B.C. The external diameter was 492 ft., 
that of the orchestra, 110 ft. The cavea 
was subdivided by two precinctions or 
horizontal passages. The lowest range, 
divided by flights of steps into nine cunei, 
had twenty-one tiers of seats. Remains 
of forty-six tiers of seats, in all, are trace- 
able ; it is estimated that there were fif- 
teen more. The cavea is in pax't excavated 
from the rock ; the seats were probably 
covered with marble. 
TADMOR. See Palmyra. 
TAENARUM, Laconia, Greece. 

Two Temples, probably forming part 
of a sanctuary of some importance, not far 
from the monastery of Kourno. That 
toward the north was a small Doric edi- 
fice with two columns in antis. The 
wheel-shaj^ed acroterium is noteworthy. 
The larger south temple is a peripteros of 
six columns by seven, the angle-columns 
having the form of rectangular piers with 
semi-columns toward the long sides of the 
temple, so that the square faces of the 
piers are on the two faQades. This build- 
ing too was Doric, but the columns had 
moulded bases ; it had an acroterium of 
the same carved wheel type. The cella 
was surrounded on the outside with a 
triglyph frieze, and paved with small 
stones. The dimensions, measured on the 



472 



TAFKA 



edge of the upper of the two steps of the 
stylobate, are 31 ft. 10 in. by 26 ft. in. 
TAFKA, Central Syria. 

The Basilica, an interesting early 
Christian church, difPers from the neigh- 
boring one at Shakka {q. v.) only in 
simpler workmanship, and in having an 
elliptical apse in the rear wall, 
and a square tower added at the 
left of tlie front. It is thouglit 
to date from the iv or v cent., 
a century or two later tlian 
Shakka. 
TAGLIACOZZO, Italy. 

S. Francesco is a fine exam- 
ple of the vaulted Franciscan 
churches of tlie xii cent., with 
a single nave. Its ground-plan 
is cruciform, with tliree bays to 
its nave, two to its transejit, and 
one to its apse. The entire 
church is covered with ribbed 
groin-vaults ; those over the nave 
are nearly square, being 8G ft. 
wide by 32 ft. long, and the 
smaller vaults over tlie aisles of the tran- 
sept are of similar proportions, but tlic 
central vaults of the transept and that of 
the apse are mucli narrower and oblong. 
The fa9ade has a charming door and a 
fine rose-wiiulow. Of about the same pe- 
riod and style is the churcli of 8. Cosimo. 
[A. L. F.,'jr.] 
TAOKMINA (anc. Tauromenium), Sicily. 

Ancient The.v.tre, on a rocky height 
east of the town, several hundred feet 
above the sea, and commanding one of the 
finest views in the world, including Mt. 
Ftna and the seacoast as far as Messina. 
It occupies a natural hollow in the side of 
a hill facing west, the seats of the cavea 
being hewn from the solid limestone rock. 
It is perhaps the best preserved ancient 
theatre, except tliat of Aspendos. It is 
of Greek foundation, but Roman remodel- 
ling, in plan a little lai'ger tlian a semi- 
circle, the cavea being extended on each 
side about 10| ft. The cavea is divided 



by flights of steps into nine cunei or 
wedges, and by two precinctions or hori- 
zontal passages into three ra)iges of seats. 
It was skirted above by a vaulted gallery, 
with ten arches opening on an exterior 
corridor. Above this gallery there was a 
Corinthian colonnade, six granite columns 




Fig. 212. — Taormina, Ancient Theatre. 

of wliich are still standing. The diameter 
is 357^ ft., that of the orchestra 129 ft. 
Tlie stage-structure, witli its brick con- 
struction and marble encrustation, is 
Roman. The liack wall of the stage is 
pierced by three doors with three niches 
between each pair, and one at each end. 
The niches were adorned with an ad- 
vancing order of Corinthian coluinns in 
granite, cipollino, and red marble, lii 
the second story there was also a range of 
Corinthian columns. The foundations 
remain of the proscenium wall. The 
stage measured TT^ ft. by 38 ft. Behind 
it there was a long hall, and on cither side 
flanking chambers. Beneath the stage is 
a vaulted underground passage of com- 
munication. {See Fig. 212.) 
TARRACIXA. See 'Terrarina. 
TEGEA, Arcadia, Greece. 

The Temple of Athena Alea (Mi- 
nerva of Aleus), founded by Aleus. foun- 
der of the city, was burned in 395 B.C., 



4T3 



TEGGIANO 



and rebuilt by the famous artist Scopas of 
Pares. It was of white marble, and is de- 
scribed as excelling in beauty of design 
and Avorkmanship all other temples in Pel- 
oponnesus. The order of its principal col- 
umns, according to Pausanias, was Doric, 
those next in importance were Corinthian, 
and others were Ionic. The pediments 
were filled with statuary. The ancient 
statue of Athena Alea,_ which was pre- 
served in the temple, was transported to 
Rome by Augustus, and placed at the en- 
trance to his new forum. The tem|)le, 
partially explored in 1879, was a Doric 
peripteros of six columns by fourteen ; 
the foundation, of large blocks of breccia, 
measured 70 ft. by 164 ft. ; the lower 
diameter of column, approximately 5 ft. 
11 in.; the uppei", 4 ft.; the height, 26 ft. 
3 in.; the number of channels, twenty. 
The cornice was surmounted by a cyma 
carved in relief with the Ionic vine orna- 
ment, and with projecting lion heads. 
The joints were covered by anthemia. 
The roof was covered with marble tiles of 
the usual design. 
TEGGIAXO (Diano), Apulia, Italy. 

The Churches of S. Pietro and Sant' 
Ajtdrea have been built upon the foun- 
dations and with the materials of two 
small Roman temples, each with two Com- 
posite columns in antis, a frieze of tri- 
glyphs and sculptured metopes, and a Co- 
rinthian cornice. Enough remains of both 
stylobates and of all the architectural ele- 
ments for a complete restoration. Re- 
mains of similar temples exist in the lower 
town and in the neighboring village of 
San Rufo. One of them was circular, and 
presents the same mixture of orders. 

RoMA?^ Theatre, partly built into the 
church of S. Michele Arcangelo. The es- 
sential dispositions of the ancient struct- 
ure are still plainly visible ; it was prob- 
ably an odeum, and very similar to the 
odeum of Pompeii. Two columns of pink 
granite belonging to the decoration of the 
stage-structure remain in their ancient 



position, and now support the organ of 

the church. 

TELMISSOS, Lycia, Asia Minor. 

Necropolis, of great interest, and in- 
cluding tombs of many different types. 
At the foot of the clifEs are ranged sarco- 
phagi or mausolea, most commonly with 
heavy lids or roofs of the keel-shaped 
type, and in the face of the rock are 
several tiers of fa9ades, many of them of 
Greek type, particularly some with two 
Ionic cohimns in antis beneath entabla- 
ture and pediment, and richly framed 
doors in the pronaos, some of them with 
excellent sculptured friezes, and others 
exhibiting the imitation of Lycian wooden 
construction, with its beam-ends, panelled 
doors with projecting nail-heads, knocker- 
rings hanging from lions^ mouths, and 
other characteristic features. 

Theatre, at the S. W. end of the city, 
on the slope of a hill at the issue of a 
narrow valley. The cavea and seats are 
well preserved and of excellent style. The 
plan is semicircular, the exterior diameter 
254 ft., that of the orchestra 92 ft., the 
perpendicular height 45 ft. The cavea 
retains twenty-eight tiers of seats divided 
by a precinction, or horizontal passage 8| 
ft. wide, above the fifteenth tier from the 
bottom. The stage structui-e was 141 ft. 
by 40 ft ; its foundations survive. 
TEOS, Ionia, Asia Minor. 

Temple of Diontsos (Bacchus), a 
splendid Ionic structure built by the 
architect Hermogenes. It was octastjde, 
pseudo-dipteral, on a stjdobate of three 
steps. The columns had twenty - two 
flutes; their diameter at the base was 3 
ft. 4 in., at the neck 3 ft. 1 in. ; their 
height is reckoned at 26 ft. 2 in. The 
sculjjtured frieze is now at Constantino- 
ple. The temple, which stood in an area 
surrounded by porticoes, now lies in a 
confused heap of ruins. 
TERAMO (anc. Interamna Picenum), 
Italy. 

The Cathedral is an old Gothic 



4T4 



TERGESTE 



church whose history is not known, 
though there was a bishop there from 
the VI century. The Gothic choir is in 
two bays with aisles and square east end, 
inclined at an angle to the rest of the 
church. It was built, about 1330, on to 
an older church, which in 1739 was al- 
tered into the modern nave, aisles, and 
transept, with new vaults, and piers cased 
in an order of pilasters. The rich chaj)el 
of S. Bernardo, added in 1770, extends the 
north transept arm, ending in an ajise. 
The middle door of the square plain front 
is a handsome piece of Gothic, with 
twisted jamb-shafts, a crocketed canopy 
flanked by small shrines, a mosaic tym- 
panum, and an inscription dated 1332, 
ascribing it to Magister Deodatus dc itrhe 
{i.e. of Rome). The graceful campanile 
stands obliquely against the south side of 
the choir, a tall square tower with an 
octagonal lantern crowned by a low spire 
beset with gables, but it is also modern- 
ized. 

There are plentiful Roman remains, 
among which an amphitheatre, a theatre, 
whose large vaulted substructions are now 
called Le Grotte, extensive baths, and 
aqueducts are tlie most conspicuous. 
TERGESTE. See Trieste. 
TERMESSOS, Pisidia, Asia :\[iuor. 

TiiEATRH. in the middle of tlie town, 
at the N. W. corner of the agora, wheiice 
an entrance led to the dinzoma or hori- 
zontal passage of communication. T!ic 
plan is more than a semicircle, the south 
wing, especially, being extended as far as 
possible. The exterior diameter is 208 
ft. ; there are eighteen tiers of seats below 
the diazoma, and nine above, most of them 
in place. 
TERNI (anc. luteramna Umbria), Italy. 

The RuiKS of the ancient Roman town 
include remains of the ampliitheatre, of 
two temples believed to be tiiose of the 
Sun and of Hercules, and of therma;. 
The former, which is incorporated in the 
church of S. Salvatore, is circular. 



TERRACINA, Italy. 

The Cathedral (S. Cesareo) stands on 
the public square, which is the ancient 
forum, and on the site of the old temple 
of Rome and of Augustus. It is believed 
to have been founded by Theodoric, whose 
name appears in an inscription in it, and 
in its present form is a three-aisled basil- 
ica Avithout transept and with three east- 
ern apses. Of the six round arches car- 
ried on antique columns whicli line each 
side of the nave, the easternmost pair is 
made larger than the rest, giving within 
somewhat the asj)ect of a transept. The 
capitals and the main apse are modernized, 
but the old pavement is jireserved, and 
also the medigeval pulpit, bishop's chair, 
and tabernacle. These are enriched Avith 
carved colonnettes and Avith mosaic. 
Across the front is an open porch or nar- 
thex, built or renewed in the middle of 
the XII cent., Avitli a range of ten antique 
Ionic columns in front, tAvo of Avhich 
stand on the backs of lions. The archi- 
trave is enriched Avitli an arabesque in 
mosaic, and above on tiie front is a point- 
ed arcade. Tlie bell - tower has four 
stories of blind arcades crowned by a 
modern roof. 

The Mole of the AxTOifiiirES, built of 
an inner mass of oy;».s' inccrtHin of tufa 
and mortar, is faced on its A'ertical interior 
side Avith tipnx rdiculatuni of limestone, 
and on its upper surface and the inclined 
face toward the sea, paved Avith flat blocks, 
also of liniestone. Tlie two rectilinear 
arms of tlie mole unite at the north in a 
right angle, Avliere Avas a large monumental 
gateway. On the Avest side of the angle 
tliere Avas an arcaded portico 200 ft. long 
and 30 ft. Avide, at the end of Avhicli Avas 
a stair leading to the teri'ace aboA'e the 
buildings. The portico consisted of ar- 
cades opening toward tlie quay, and Avas 
preceded by the colonnade of Corinthian 
columns Avithout bases Avhich adorned the 
entire interior front of the constructions 
bordering tlie quay on the east and Avest. 



475 



THASOS 



From the end toward the S. ^Y. extended 
a series of seventy-six vaulted chambers, 
opening behind the colonnade which bor- 
dered the quay. The height of tlie vaults 
is 17 ft. and their masonry is 5 ft. thick. 
The columns stand 9 ft. in front of the 
dividing piers of tlie chambers, and the 
quay in front is 14 ft. wide. At intervals 
of 58| ft. on the water-face of the quay 
are set up great eyes for mooring, cut in 
blocks of white limestone. The masonry 
of the chambers is in oj)ii,s reticulatiim 
framed in ashlar. The entablature of the 
colonnade was of wood. Tlie chambers 
served for storage ; some of them were 
open, some closed with gratings, and 
others with a wall and door. Beyond 
the range of warehouses the long bare 
mole extended in a curved sweep, ending 
at the ship-passage in a platform which 
bore a little temple, probably of Venus. 
The N. E. mole no doubt bore the usual 
light on the extremity ; the whole of its 
superstructure was demolished to make 
room for the former pontifical palace, 
now a prison. 

Palace of Theodoric, so-called, on 
the summit of the rock, whence it com- 
mands a superb view. The ruins are 
picturesque and conspicuous in the land- 
scape, and many of the corridors and 
rooms are still perfect, and in themselves 
of much interest. Only the lower story 
remains, choked with rubbish, but show- 
ing conspicuously on two fronts an open 
vaulted arcade in random masonry, with 
arches carried on massive piers and 
springing from a simple moulded impost. 

The KoMAN Port, now entirely choked, 
still displays in large measure its ancient 
structural dispositions. It was of very 
ancient foundation, and having become 
silted up, was restored by the Antonines. 
THASOS, Cyclades, Greece. 

Triumphal Arch, at Limenas, dedi- 
cated by the city of Thasos to the em- 
peror Marcus Aurelius. The ruins are 
standing to a height of 10 ft. The struct- 



ure was in marble. 54 ft. wide, and with 
three arches, of which that in the middle 
has a span of 20 ft. The arch was sur- 
mounted with a group of Hercules strug- 
gling with a lion. On either side of this 
group there was a single statue ; one of 
these survives, and appears to represent 
the empress Sabina. 
THEBES, Bceotia, Greece. 

Aqueduct, by which the ancient city 
was supplied with water from Mt. Kitha- 
dion, over eight miles away. Its construc- 
tion was ascribed to Cadmus. It was al- 
tered and brought again into use by the 
Franks, and still serves. 

Temple and Sanctuary of the Ca- 
BiRi (Kabeiroi), or apparently more ex- 
actly, of the Kabeiros Prometheus, and his 
son Aitnaios, three and a half miles from 
the Neistian Gate. According to tradi- 
tion, this sanctuary was defended by thun- 
der-bolts from heaven when in danger of 
sack by Alexander's soldiers. The site has 
been explored by the German Institute at 
Athens since 1887. The foundations are 
73 ft. 8 in. by 23 ft., and show a cella 
which was preceded by a pronaos of four 
columns. Behind the cella there was an 
opisthodomos which seems, from the light 
character of the foundations, not to have 
been roofed, but to have been an open 
walled enclosure used for sacrifices. These 
remains represent an enlargement of an 
earlier and simpler structure. There are 
traces of a peribolos in polygonal masonry. 
Below the tem2)le to the N.W., in the Ca- 
biri sanctuary, and ajiproached from it 
by means of a flight of steps, was a series 
of chambers. It is conjectured that they 
were lodgings for the functionaries at- 
tached to the temple. The stoa in the 
Cabiri sanctuary is marked by a wall run- 
ning south, in a line with the front of the 
temple and bearing traces of six columns. 
THESSALOmCA. See Salonica. 
THORICUS, Attica, Greece. 

Domical Tomb of the Mycenaean 
epoch, discovered 1890-91. It is of un- 



476 



THOUEIA 



usual design in that it has a vaulted dro- 
mos or entrance-passage. 

Military Tower, of rectangular plan, 
west of the theatre. The walls, which 
still rise to the height of about 10 ft., are 
built in the same rock-faced, rambling- 
bed ashlar as the rear wall of the theatre, 
and of the same coarse, bluish marble. 

Stoa, near the base of the Acropolis, 
probably of the iv century B.C. It was 
Doric, heptastyle, with fourteen columns in 
each flank, on a stylobate of two steps ; the 
ground-2)lan, 107 ft. by 50 ft. Portions 
of sixteen columns remain, eleven on the 
east and five on the N. W. side. Tlie col- 
umns are cliannelled only in a ring at tlie 
base and neck. Witliin the enclosure 
were found capitals of columns differing 
from the order of the peristyle. These 
perhaps belonged to a central interior 
range for supporting the roof. The build- 
ing was never finished. 

The Theatre, explored in 188G by the 
American School at Athens, is of very ir- 
regular form, the cavea being in part con- 
structed on the side hill, and shaped but 
little by art; and in part supported by a 
retaining-wall of quarry-faced ashlar in 
broken-range work, which is referred to 
the latter half of the v century B.C. There 
are remains of thirty-one tiers of scats in 
a soft, coarse, bluish marble — smooth 
blocks sim])ly cut square, about 13^ ft. 
high and 'Zo\ ft- wide. There were three 
unequal kcrkidcs or eunei, formed by two 
kliinakcs or stairways. At the eastern 
extremity of the orchestra the three lowest 
seats are interrupted to give room for a 
pedestal. At the rear of the retaining- 
wall are two massive abutments which 
afforded access to the cavea from without 
by inclined planes. That further to the 
west is pierced with a passage closed above 
by stones corbelled out in horizontal beds. 
The lowest tier of the cavea, wider than 
the others, may have supported tlirones 
or seats of honor. The cavea could accom- 
modate about five thousand spectators. 



The floor of the orchestra was of red 
earth, compactly beaten down. At the 
west side, separated from the cavea by a 
parodos or passage, was a small temple 
facing east, probably Ionic, in antis. This 
building is referred to the Macedonian 
j)eriod. It is possible that the theatre is 
considerably older than the American ex- 
plorers have estimated, and that its irreg- 
ularity of shape and roughness of con- 
struction are accounted for more by the 
undeveloped state of theatrical architect- 
ure at the time of its foundation, than by 
a somewhat extraordinary local deficiency 
in aesthetic feeling which has Ijeen lately 
attributed to the people of Tlioricus. Tlie 
tlieatre was undoubtedly designed for dra- 
matic representations. 
THOUEIA, Messeuia, Greece. 

The Doric Temple, of small size, re- 
mains in excellent preservation. It is 
built of a hard bruwii limestone contain- 
ing shells. 

A lio.MAxBuiLDiXG, in the plain below 
Palaiokastro, probably the palace of some 
higli olficial. It is unusually well pre- 
served, retaining even portions of its vault 
of rubble and cement. The walls are 17 
ft. high, of fiat bricks laid in tliick layers 
of cement. The ruin is very extensive, 
and includes baths. 
TIUYN8. Argolis, Greece. 

Acropolis of primitive Cyclopean or 
Pelasgic construction, enclosing elaborate 
ancient buildings (commonly called a \Yd\- 
ace) of very ancient Hellenic foundation, 
and depeiulencies, discovered by Sclilie- 
mann and Dorpfeld in 1881-85. Tlie flat 
top of the rock enclosed is about 980 ft. 
by 330 ft., the northern half, given up to 
the dependencies, being lower than the 
southern half, which is occupied by the 
palace. Tlie original height of the wall is 
estimated at G5 ft., its thickness is 2(5 ft. 
On tlie south and S. E., the wall is much 
thicker, and in it are narrow passages 
communicating by doorways cut to the 
form of pointed arches with two series of 



477 



TIVOLI 



small storage-cliambers or magazines in 
the thickness of the wall. These galleries 
and chambers have long been known. 
Similar chambers exist in the citadel of 
Carthage. The roofs of the galleries and 
chambers are formed of blocks corbelled 
out. The wall is built of stones 6 ft. to 10 
ft. long and 3 ft. thick, almost unhewn, 
placed in regular layers, connected by 
smaller stones and bonded with clay. 
Tlie palace is a close parallel of the Home- 
ric liouse of the more elaborate kind, with 
its outer gate, its chief court, surrounded 
by colonnades, upon which open the pub- 
lic rooms, the chief of which is the meg- 
aron or assembly-hall (38| ft. by 32 ft.) 
besides sleeping-rooms for guests and at- 
tendants, a bath-room, etc. Its inner or 
private apartments are grouped about the 
two so-called women's courts, and are ap- 
proached only by means of indirect and 
circuitous ^^assages. In one corner of the 
chief women's room (25 ft. by 18 ft.) there 
remains a portion of the ancient wall-paint- 
ing on plaster, and other fragments have 
been found in other rooms, the designs 
repeating those previously known from 
several sites of the so-called Mycenaean 
civilization. In the vestibule of the men's 
megaron was found a carved frieze of white 
alabaster, beautifully inlaid with blue 
glass. Some pottery as old and rude as 
that from Ilion was found, but most of the 
pottery is more advanced in style. Some 
fragments as late as the Dipylon period 
were discovered. Eemains of an archaic 
Doric temple, of course much later than 
the foregoing, were found on the site. 
TIVOLI (anc. Tibur), Italy. 

TE3IPLE OF THE SiBYL, so-called. Very 
commonly called Temple of Vesta, and as- 
cribed by Nibby to Hercules Saxanus. 
This graceful circular structure overlooks 
the sheer gorge of the Anio, and at once 
gains in interest from its romantic sur- 
roundings and adds beauty to them. It 
consisted originally of a portico of eighteen 
Corinthian columns surrounding a circular 



domed cella raised on a plain basement. 
The dome and eight columns are now gone. 
The columns are slender, and the acan- 
thus - leaves of the capitals are sharp- 
toothed and excellently composed. The 
frieze is sculptured with bucrania and gar- 
lands, and the coffered ceiling of the 
pteroma, ornamented with rosettes, is al- 
most Greek in character. The columns 
and entablature are of travertine, the cella 
of opus incertum. The cella has a high 
doorway with a window on each side. 
The temple is 34^ ft. high, the interior 
diameter of the cella 24 ft. The base- 
diameter of the columns is a little over 
2 ft., and the intercolumniation a little 
over 4 ft. The date is prior to the empire. 

Temple of Tiburtus, also called Tem- 
ple of Vesta. It is a tetrastyle, Ionic, 
pseudo-peripteros, of travertine, with six 
columns on the flanks. The front portico 
is prostyle, and the interior of the cella is 
plain. The temple measures 26^ ft. by 
50 ft. 

Villa d'Este, one of the most conspicu- 
ous and familiar of the great suburban 
country houses of Rome. The main build- 
ing is situated at the summit of a hill, the 
slope in front being laid out as a vast 
rectangle rising sharply in a succession of 
terraces and staircases to the great upper 
terrace, about 600 ft. long, and 36 ft. 
broad, on which the palace stands. From 
the parterre at the foot of the hill, four 
broad parallel staircases about 180 ft. long, 
bordered on each side by a water-course 
forming a continuous cascade, lead to the 
first terrace, which is planted with thick 
shrubbery mingled with noble pines and 
cy].oresses, and adorned with fountains and 
statues, and from which imposing stair- 
cases and inclines conduct to the level of 
the upper terrace. The palace itself, built 
from the designs of Pirro Ligorio, has a 
frontage of about 180 ft. and a depth of 
100 ft., and encloses a large interior court 
surrounded by vaulted arcades. The fa- 
9ade is in three stages of rather simple de- 



478 



TLOS 



sign, with slightly projecting wings, jilain 
square windows on balustrade courses, and 
a central projecting portico of four Co- 
rinthian columns. The villa was begun 
about 1540 by the cardinal bishop of Cor- 
dova, but was continued on a greatly en- 
larged plan by Cardinal Hippolite tl'Este. 
Under Benedict XIV., in the middle of 
the XVIII. cent., it was despoiled of the 
greater part of its statues and bas-reliefs, 
which were removed to the A^atican. The 
water-works, which form the most remark- 
able feature of the grounds, were designed 
by Orazio Olivieri. 

Villa of Hadriax (or Villa Adriana). 
now a stuj)endous agglomeration of ruins, 
once one of the most lavish creations of 
the art-loving emperor, in which he sought 
to reproduce objects M'hich had pleased him 
in his wide journeyings. It embodied a 
lyceum, an academy, a prytaneum, a sanc- 
tuary of Serapis, a pcecile or painted porch, 
Greek and Eoman theatres, and many other 
f eatui-es. Sculptures and mosaics have been 
found on the site in great quantities since 
tlie Renaissance, among them many im- 
portant Avorks. Since 1871 regular exca- 
vations have Iteen conducted by tlie Italian 
Government. Among the best-preserved 
features is tlie circular structure wliicli 
has been miscalled a natatorium, a mari- 
time theatre, a nymphanim, etc. The ex- 
ternal diameter is about 1-iG ft. ; inside, a 
platform about 11 ft. wide skirts the wall, 
bordered by a raised stylobate on M'hich 
stood a peristyle of columns. Above these 
columns ami tlie exterior wall there was 
probably a gallery whicli was floored with 
mosaics. Next inside of the peristyle 
there is a canal 10 ft. wide, its bottom 
sloping to a depth of 5 ft., sujiplied with 
water by a conduit wliich is still visible. It 
was crossed by two swinging bridges, wliich 
turned on pivots and gave access to an 
inner circular structure elaborately orna- 
mented and subdivided. This structure 
formed a comjilete Roman dwelling, com- 
prising vestibules, central atrium, tricli- 



nium, reposing-rooms, warm and cold 
baths ; the whole was richly paved and 
encrusted Avitli marbles and porphyry, and 
decorated with columns, sculptured friezes^, 
and fountains placed in niches. This im- 
perial palace has left important remains 
forming three stages — on the lowest the 
gardens, on the next the domestic build- 
ings and large state apartments, and on 
the highest the imperial residence projier, 
dominating the entire villa. Xear by are 
a stadium and therm*. The Vale of Cano- 
pus, or sanctuary of Serapis, in imitation 
of the Egyptian original, is an artificial 
excavation about GOO ft. long, and 230 ft. 
wide, in the tufa ; it formed a large j^ool 
on which boats plied. On the right, rise 
several tiers of little cliambers, apparently 
reproducing the lodgings for the pilgrims, 
to whom in their sleep the god sent vis- 
ions. At the end is the large semicircular 
niche of the sanctuar}', on Avliose terrace, 
ornamented with fountains, porticoes, 
niches, and statues, Avas found tlic image 
of Serapis. Xear by are the ruins of the 
Academy, of a monumental circular hall 
called the Temi^le of Apollo, and of the 
Odeum or third tiieatre, Avith consider- 
able remains of botli cavea and prosce- 
nium. There are also important remains 
of the Inferi or rejn'oduction of the infer- 
nal regions, with a very long underground 
passage lighted by circular openings in the 
vault, and of the aqueduct Avhicli brouglit 
Avater from the Anio. 
TLOS. Lveia. Asia Minor. 

Theatre, of large size and niagniticent 
construction, 'fhe seats of the cavea are 
of jiolished mai'lile, and every seat has a 
projecting cornice, Avliich is often suji- 
ported by lions" paws. There are many 
other important ruins, seemingly Roman 
in type but Greek in construction, and a 
most interesting necropolis, including 
tombs both of the wood arcliitecture tyjae, 
witli panelling and other features peculiar 
to carpentry, and Ionic temjile facades 
with sculptures in the pediments. 



479 



TODI 



TODI, Umbria, Italy. 

The ancient City Walls are remark- 
able ; they include three distinct circuits. 
The oldest parts are pre-Roman, built of 
large blocks and of the character of Etrus- 
can walls, the newer parts in regular 
ashlar of travertine. There are consider- 
able remains of a classical building, called 
locally the Temple of Mars ; it is jJi'obably 
a basilica. 

St A. Maria della Consolazio]S"e, a 
small but interesting Renaissance church 
dating from the beginning of the xvi 
cent., and attributed to Bramante. Its 
plan is simple : a square of about 35 ft., 
bounded by four great round arches 
springing from rather slender j^iers faced 
with Doric pilasters, and bearing a high 
central dome and cupola raised on a drum 
with an order of thin coupled pilasters 




Fig. 213. — Todi, Sta. Maria della Consolazione. 

with single square windows in the inter- 
vals. From each side of the central square 
opens an apse, of which three are polygo- 



nal, and the remaining one circular, each 
lined with two stories of flat pilasters, and 
covered by a semi-dome which abuts against 
the attic of the central square. The drum 
is pierced by small square windows, above 
which runs a light entablature. The ex- 
terior corresj)onds exactly with the inte- 
rior. The four apses are encircled by two 
orders of pilasters, the upper order having 
single square windows in the intervals. 
An attic with windows runs round the 
bases of the semi-domes. The drum of 
the central dome is surrounded at its base 
by a balustrade. {See Fig. 213.) 
TORCELLO, Italy. 

The Cathedral (Sta. Maria) is the 
only remaining member of a group of 
churches, built shortly after the occupa- 
tion of the island by the tribunes Arius 
and Arator. It is a basilica, following in 
a general way the Latin tyj)e, but vary- 
ing from it in proportions and details. 
The exterior has been completely mod- 
ernized, and shows only some remains 
of the original sculptural decoration 
about the principal western doorway, 
and in some fragments inserted in other 
portions of the wall. The interior, 
though restored during the present cen- 
tury with not very strict regard for the 
preservation of details, still retains sub- 
stantially its ancient features. Its plan 
is that of a nave about 48 ft. broad, 
with two aisles about 25 ft., separated 
by eight columns on either side, of 
veined marble with Byzantine capitals 
of Corinthian form, carrying stilted 
round arches with a low clerestory 
above, pierced with round-arched win- 
dows. These windows are filled, as in 
the tribune of San Miniato at Flor- 
ence, with slabs of alabaster divided 
into small circular panels so thin as 
to be translucent. The nave and aisles 
have only wooden roofs. Of the nine 
bays into which the nave is divided, the 
four eastern ones, used as the choir, are 
separated from the rest by a screen of 



480 






SIENA- INTERIOR OF THE CATHEDRAL 



TOECELLO 

marble columns with ii simple entablature, various saints. These are presumably of 
the oi^enings, except that in the middle, nearly the same date ■with the church, 
being closed by an elaborate railing with The west wall is also covered with a 




Fig. 214.— Torcello, Cathedral. 



carved panels, evidently of Byzantine 
workmanship, answering to the canccUi 
of the older Latin basilicas. The mar- 
ble pulpit stands in front of the screen, 
supported on columns, approached l)y a 
staircase. The nave and aisles eacli end 
in an eastern apse, the central tribune 
having still in the centre of its arc the 
high marble tlirone of the bishop, with 
its narrow stair enclosed by stone. Eight 
and left of the throne the wall is lined 
with a double row of marble seats, rising 
in steps above the floor of the tribune, 
showing the characteristic imposing ar- 
rangement of an early Christian presby- 
tery. The wall of tlie tribune is lined 
for half its height with slabs of veined 
marble. Above this is a border or frieze 
of mosaic in geometrical patterns, and the 
upper wall and the hemisijherical vault 
are covered with mosaics representing the 
Saviour with the Virgin and apostles and 



mosaic of later date, jirobably of the xiii 
cent., divided into three subjects : the 
Crucifixion, the Descent into Hell, and 
the Last Judgment. There is also a large 
mosaic on the end wall of the south aisle, 
and the church still retains its ancient 
mosaic pavement in ojms Alexandrinum. 
A small domed octagonal baptistery opens 
from the north aisle, but its decoration lias 
quite disappeared. The church was pre- 
ceded by an atrium, which was surround- 
ed by galleries with columns supporting 
wooden architraves. Oidy the side next 
the church remains, forming a portico to 
the front. Of the square campanile at the 
N. W. angle of the church, only the low- 
er portion still stands. The church, built 
about G-41, was restored in 8(14, and again 
in 1008 ; the second restoration is by some 
authorities believed to have been practi- 
cally a reconstruction. {See Fig. 214-) 
Sta. Fosca. Of the two churches at 



481 



TORREMAEE 



Torcello, tliis is miicli the more recent, 
yet there appears to be no certain record 
of its origin. It is first mentioned, ac- 
cording to Mothes, in a legal document of 
1011. It is a Romanesque church of quite 
unusual plan and design. Its plan is that 
of an imperfectly developed Greek cross, 
with a large choir to the eastward. Prom 
a central space about 33 ft. square, of 
which the upper or clerestory walls are 
supported on each side by three round 
arches, the central arch much the largest, 
open to the west, north, and south three 
shallow arms of the cross, each in three 
bays corresponding to the three arches, the 
central bay barrel-vaulted, the side bays 
groined. On the fourth or eastern side 
the three arches open into the aisles of a 
deep choir, vaulted as in the other arms, 
and each aisle terminating in a round 
apse. The arches throughout the interior 
rest on columns of Greek marble with 
Corinthian capitals, probably taken from 
some older building. The square walls of 
the central portion support by means of 
double squ inches in the angles a cylindri- 
cal drum which formerly carried a hemi- 
spherical dome. The dome has disajj- 
peared and the drum is covered by a 
simple conical wooden roof. On the ex- 
terior the arms of the cross on the west, 
north, and south show above the lower 
roofs in gabled roofs which abut against 
the drum of the dome. In each gable is a 
large semicircular window concentric witli 
the vault. The church is enclosed in an 
arcade of stilted round arches supported 
on columns partly round and partly oc- 
tagonal, with capitals of singular and 
uncouth design, which it is difficult to 
assign to any age or style. The angles of 
this arcade are truncated so as to make 
its plan octagonal, and its north side com- 
municates with the atrium of the adjacent 
cathedral, of which this church is thought 
to have been the baptistery. The east end 
does not appear to have formed part of 
the original design, but is very similar in 



style to that of the neighboring church of 
Murano, which is nearly of the same date. 
The central apse is octagonal on the ex- 
terior, with coupled columns at the an- 
gles supporting blind arches. The arches 
are repeated in a second story, but without 
the columns, and above the upper arches 
is a frieze with red and yellow bricks 
in alternate upright triangles, surmount- 
ed by a decorated cornice of brick and 
stone. 

TORREMARE. See MeMjmitum. 
TOSCANELLA, Italy. 

Cathedral (S. Pietro), a Romanesque 
church of various periods up to the end 
of the XI cent., designed with great ele- 
gance, the exterior expressing accurately 
the interior arrangement. The fagade is 
especially remarkable. It has a central 
division closing the end of the nave, con- 
taining a fine central doorway with a 
round arch under a deep moulded archi- 
volt, marble columns in the jambs, and a 
tympanum ornamented with mosaics now 
much decayed. Over the doorway is a 
graceful gallery of twelve arches on small 
columns, flanked by griffins and crowned 
by a corbelled cornice. The remaining 
height is occupied by an extremely fine 
wheel-window in a square recess, Avith 
figures in relief at the four angles, and 
small two-light arched Avindows on each 
side. A nari'ow band of mosaic surrounds 
the wheel-window. The projecting cen- 
tral division terminates in a low pedi- 
ment, and the angles of the walls below 
are emphasized by pilasters and engaged 
columns resting on animals. The side 
divisions, under low half -gables, follow the 
section of the interior aisles, and are cov- 
ered with high arcades broken only by 
tAvo rich round-arched doors. All the 
sculpture on this front is in white mar- 
ble. The sides of the church are very 
plain. It is built on a hillside, the 
ground falling rapidly toward the east 
end, which is therefore very high, and 
buttressed Avith rude square projections. 



483 



TOSCANELLA 



The central apse shows first a high foun- 
dation wall below the floor of the cryjjt. 
Above this it is divided into three stages, 
the two lower decorated with pilasters and 
arched corbel-tables, the third stage occu- 
pied by a gallery of grouped arches be- 
tween pilasters. The interior is simple ; a 
lofty nave and low aisles sej)arated by wide 
arches springing from massive columns of 
marble with semi-classic capitals, a square 
choir and three round apses with a high 



receive the bodies of three saints which 
were then brought to Toscanella. In 650 
the church was so far advanced that the 
bishop's chair was brought hither from 
the neighboring but smaller church of 
Sta. Maria ; but the building appears to 
have been finished in portions and at vari- 
ous dates, up to the middle of the xi 
cent., at which period the present front 
was built. Tlie dedication was in 1090. 
{See Fig. 215.) 




Fig. 215. — Toscanella, Cathedral. 



crypt beneath, tlie central apse decorated 
with frescoes dating from 1U3!) to lUUO. 
The higli altar is under a baldacchino 
with round arches on marble columns, 
aiul a pyramidal roof. Tlie roofs are all 
open-timbered. A curious detail, per- 
haps unique, is the parapet between the 
columns each side the nave, indicating 
the provisions in the early Church for 
separating the sexes during the services. 
This church has undergone many changes 
and partial transformations. Its founda- 
tion goes back to the vii century. Later, 
probably, the imposing crypt was built to 



.Sta. Mahia Maggioke. a Romanesque 
church of unusual design, much like the 
cathedral (y. r.), of basilican form, usu- 
ally assigned to the vi cent., but belong- 
ing probably to the xi and xii. It 
has a fa9ade of great elegance, in three 
divisions, the centre projecting slightly, 
with a fine round -arched doorway en- 
riched by five columns on each side, dec- 
orated arch mouldings, and a tympanum 
with bas-reliefs. Above the doorway is a 
graceful arcaded gallery of marble, with 
a winged dragon in relief at cither end, 
and above this again a fine rose-window. 



4)Si 



TOSCANELLA 



The flat gable wliicli formerly terminated 
this divisiou has disappeared. The side 
divisions are simply the end walls of the 
aisles, each with a doorway similar to that 
of the centre but smaller, and each finish- 
ing with a low half-gable answering to 
the aisle roof. This front was formerly 
ornamented with paintings, now mostly 
obliterated. The interior has a nave and 



the choir by a single great round arch on 
each side, continuing the line of the nave 
arches. The main aisles open into this 
transept by a single round arch the whole 
width of the aisle. The aisle walls are 
ornamented by a blind arcade unsymmet- 
rical with the nave arches. The roofs are 
all of wood, the iiave roof being framed 
with simple tie-beam trusses resting on 




Fig. 215. — Toscanella, Sta. Maria Maggi< 



aisles of five bays separated by round col- 
umns with capitals of quasi-Corinthian 
character, carrying large round arches with 
Gothic mouldings, and decorated soffits. 
A strong cornice supported on corbels of 
various design runs above these arches, 
and above this rises the clerestory wall 
pierced with round-arched windows, with 
a broad flat decoration carried round 
their heads. The choir aisles are in 
sti'ictness ti'ansept arms, opening from 



corbels, with the purlins and rafters 
shown. The east wall of the choir above 
the apse, and the walls and hemispherical 
vault of the apse are covered with frescoes. 
The columns of the nave are also painted 
each with a full-length figu.re of a saint. 
There is a fine stone pulpit, raised high 
on four massive round arches with dec- 
orated archivolts and spandrels resting on 
strong round columns with large foliated 
capitals. The walls of the pulpit are dec- 



484 



TRALLES 



orated with carved panels of various de- 
sign, tlie whole composition being strongly 
Byzantine in character. The high altar 
in the apse is covered by a baldacchino 
with four round, many-cusped arches car- 
ried on four columns and covered by a 
pyramidal roof. The date of the original 
church cannot be stated with accuracy, 
but it was probably rebuilt about 1090. 
The central doorway dates from about 
1130, and after various changes the cliurch 
was finally reconsecrated in 1206. The 
square campanile which stands opposite 
the fa9ade still remains unfinished. [See 
Fig. 216.) 

Sta. Maria della Rosa (Sta. Maria 
Minore) is like S. M. Maggiore, but on a 
smaller scale. The facade, which dates 
from the end of the xi cent., has three 
round-arched doorways, and above them a 
rose-window and two pairs of twin win- 
dows. It has a nave and aisles separated 
by three pairs of great arches, carried on 
low columns, but no transept, and at pres- 
ent no apse. 
TRALLES, Caria, Asia Minor. 

The Theatre, in its present form, is of 
advanced Greek, or even Roman, date. It 
is supported against the slope of the Acrop- 
olis, somewhat high up ; the stadium, 
whose axis is pai'allel with the stage struct- 
ure, is lower on the slope and very close 
to the theati'e. The latter was partially 
excavated in the autumn of 1888. The 
cavea faces S. W. , and is in plan a semi- 
circle extended l)y tangents at tlie extrem- 
ities. The two wings were supported by 
retaining- walls, whose revetment is now 
gone. There were two (h'-azomdfti, or hor- 
izontal passages of communication, to the 
higher of which there was access from the 
exterior on each side by a vaulted passage. 
The back of the cavea was bordered by a 
gallery, which was probably colonnaded. 
The lowest of the tliree sections was divid- 
ed into eight wedges by nine l-Iiiiiah's or 
radial stairways. The few seats which 
have escaped the lime-burner are of white 



marble, with rounded edges and deeply 
concave moulded rise. The place for the 
feet, instead of being in the same block 
with the seat below, as is usual in Greece, 
is formed of a separate slab. The lowest 
tier of seats was a row of thrones, having 
backs and arms at the ends adjoining the 
stairways. In the middle of the row of 
thrones was either a box of honor or a 
basement of altar form. The orchestra is 
separated from the cavea by a passage in 
the form of a step, 3 ft. wide, below which 
it is bordered by a drainage channel of 
square section. It was presum-ably origi- 
nally a circle, and floored with beaten earth 
and ashes, but as it now is, its diameter 
(to the channel) is 82 ft., and its depth 
57| ft., and it is paved with marble slabs 
and with the bedding of mortar where the 
slabs have been removed. An under- 
ground passage 2 ft. wide and having a 
depth of about 7 ft. beneath the pave- 
ment extends from the stage structure to 
the middle of the orchestra, where it 
branch e in T form. This is as yet im- 
perfectly explored, but is doubtless of the 
same nature as the similar passages discov- 
ered at Eretria aiul Sicyon. Though later, 
the stage structure consisted of a hall with 
a triple range of columns, of which those 
of the central row were formed of two 
semi-columns engaged in a rectangular 
pier. This singular disposition is still un- 
explained. Touching the bases of the 
front row of columns there was a massive 
wall, from the middle of whicli projected 
into the orchestra a double flight of steps 
traversed by a doorway, connecting the 
orchestra and the interior of tlie hall. 
Tlie construction shows that the front wall 
cannot have been less than 10 ft. high, 
and the depth of the platform forming tlie 
roof of the hall was 18 ft. From these 
conditions, actors on the platform could 
be but very imperfectly seen by spectators 
in the lowest tiers, whicli is a strong argu- 
ment in favor of Dr. Dorpfeld's theory 
that there was no raised stage. The face 



TEANI 



of the wall of the hall Avas adorned with a 
frieze of Dionysiac subjects, about 3 ft. 
high, fragments of which have been found. 
It is probable that there were also two lat- 
eral doorways. The original parodoi of 
the theatre are closed in its present state. 
TRANI, Italy. 

The Cathedral, dedicated to Sta. 
Maria Assunta and S. Niccolo Peregrino, 
and standing on a point of land nearly 
surrounded by the sea, is one of the most 
remarkable of the xi cent, monuments of 
southern Italy. It is a basilica whose in- 
ternal length is about 180 ft., and its 
breadth 65 ft. The nave, about 120 ft. 
long, 30 ft. wide, and nearly 70 ft. high, is 




Fig. 217. — Trani, Cath., Doorway. 



separated from the aisles by seven round 
arches on each side springing from coupled 
columns, with composite capitals and 



heavy al)aci. The bays of the aisles are 
square and groined. Above the nave, on a 
light moulded string-course, is a fine tri- 
forium arcade of triple arches on colon- 
nettes under plain round bearing-arches. 
These open into an upper aisle or wom- 
en^s gallery. The clerestory wall is 
pierced by single small round - headed 
windows, high up under the wooden ceil- 
ing. The interior is much injured by 
modern renovation. The nave opens by a 
single round arch into a broad rectangu- 
lar transept jDrojecting very slightly be- 
yond the aisle walls, and of which the 
eastern wall is broken by a great semi- 
circular apse, flanked by two small ones. 
A fine crypt or lower church extends 
under the transejDt and the whole nave, 
the two portions being separated by a 
solid wall with a single doorway in the 
middle, and the portion under the tran- 
sept being lower by several steps. The 
whole space is divided by lines of col- 
umns into square groined bays, and 
lighted by large round-arched windows 
in the transept ends. The great cen- 
tral apse of the upper church is re- 
peated in the crypt. The exterior is of 
great interest. The perfectly flat fa- 
cade follows the interior section, its 
outline bordered by a continuous cor- 
nice moulding. The under church is 
so much above ground that it is entered 
by a door under a double staircase, 
which leads up to the main doorway. 
This doorway is a broad round arch, 
with heavy archivolts, the sculpture 
showing a mixture of Norman and By- 
zantine influence, and enclosing bronze 
doors of remarkable design by Bari- 
sanus of Trani, bearing the date 1173. 
It is flanked by a blind arcade of four 
round arches on each side crossing the 
front. High above this arcade is a round 
arched central window flanked by shafts 
on grotesque corbels carrying lions, be- 
tween two smaller windows, and in the 
gable a great round window of which the 



486 



TKAtJ 



tracery has disappeared. Flush with this 
fa9ade, at tlie south, is a fine square bell- 
tower, some 190 ft. high, with an increas- 
ing series of grouped windows in five 
stages, above a single high-pointed open 
arch, through which a street is carried. 
It finislies with an arched corbel-table and 
projecting cornice, above which is an oc- 
tagonal lantern and a low spire. The 
flank walls are broken by well-marked 
buttresses, joined by blind arches with a 
small round - headed Avindow in each. 
This arcade is continued with some varia- 
tion round the transept, which has low 
gables with liorizontal cornices, and under 
each a fine rose-window. The cathedral 
was' begun near the end of the xi cent., on 
the site of an older church dedicated to 
tSt. John the Baptist. It was consecrated 
ill 114:3, but finished some years later. 
Portions of the front are believed to be- 
long to the original church. {See Fig. 
217.) 

Tlic Ognissan'ti (Cliurcli of All Saints), 
belongs to tlie period of the Lombard oc- 
cupation of southern Italy, ascribed to 
the earlier lialf of the ix century. Its 
plan is a rectangle of about 70 ft. by 40 ft. 
One-third of the length is given to a fine 
open porch or narthex of the full breadth 
of tlic churcli. divided by round arclics on 
columns into six equal square groined 
bays. From this porch lead three arched 
doorways with carved tympana. The east 
end of the church has three apses, of 
wliich the middle one has a beautiful 
sculptured frieze on corbels, and a large 
central window with a rouiul archivolt 
sjtringing from slender columns resting on 
lion corbels. Above the south apse rises 
a low tower. The interior consists of a 
flat-ceiled nave and groined aisles with 
thi'ee apses and no transept. It is divided 
by four somewhat stilted round arches on 
each side, resting on granite columns witli 
Corinthian capitals, corresponding to half 
columns on the side walls. 

St A. Maria Immaculata, a small early 



XI cent, church of singularly Byzantine 
design, built on the ruins and ^n'eserving 
the disposition of an older church, prob- 
ably of the IX century. Its plan is a 
rectangle about 52 ft. wide and 70 ft. 
long, containing the nave and aisles, with 
a choir projecting eastward measuring 
about 23 ft. square, and divided into nine 
bays by cross - arches resting on four 
grouped piers. Nave and transept rise 
above the rest in a cruciform roof with 
gables on all four sides, and the central 
dome rises higher, round within and octag- 
onal without, but covered with a i)yram- 
idal roof. The ends of the nave are 
covered with flat domes, and the aisles 
with half barrel- vaults. The choir is a 
single square groined bay. The fa9ade 
lias a single door in the centre, with a 
round-arched window above flanked by 
columns, over which is a rose- window. 
An arched corbel-table follows the slope 
of the gable. 
TRAU, Dalmatia. 

The Catiiedual (Duomo) was built in 
a belated Romanesque style and mostly in 
the first half of the xiii cent., but not 
finished until the xvi. The plan is ba- 
silican, with nave and aisles of five bays 
ending in three eastern apses. The front 
contains, under and between its towers, a 
2)orch or narthex of the full width of nave 
aiul aisles. Its three bays have ribbed 
vaults, on round transverse arches and 
wall shafts. The great doorway entering 
the nave bears the date 1240. Its round 
arch encloses a tympanum sculptured with 
the Nativity. The square recesses of the 
archway are riclily sculptured witli figure 
subjects, and support a gabled and crock- 
ctted canopy. The doorway is tlie finest 
in Dalmatian architecture. The interior 
is small but high and massive, with a 
nave 25 ft. by 85 ft., and is 50 ft. high to 
tlie vertex of its transverse arches, the 
domical vaults rising considerably higher. 
Nave and aisle vaults are four-part. The 
transverse arches of the nave are pointed. 



4S7 



TREBIZOND 



and sjDring with the diagonals from con- 
soles carved with xv cent. Venetian foli- 
age ; elsewhere all the arches are round. 
The apses have half-domes. Kound the 
main apse is a stone seat for the clergy, and 
over the altar a Romanesque baldacchino 
of the peculiar Dalmatian type. There are 
also an octagonal pulpit resembling the 
one at Spalato and a double row of xv 
cent. Venetian choir stalls. Of the two 
projected west towers, one was never built 
above the roof of the narthex, which di- 
vides the front at half height, and has above 
it a traceried rose-window under a gable. 
The other tower is carried up square, with 
a XV cent, belfry stage iilled with Vene- 
tian tracery, and above it a second belfry 
of the XVI cent, crowned with a pyrami- 
dal spire. The gables, apses, and clerestory 
are corniced with round -arched corbel- 
tables, the aisles have a dwarf gallery un- 
der the eaves, and the walls have pilaster 
buttresses. A sacristy, baptistery, and 
two chapels adjoin the north aisle. The 
church was begun in 1200, on the site of 
an older one destroyed in the Saracen in- 
vasion. The walls were finished by the 
middle of the xiii cent., the vaults, it 
is reported, a century later ; and an in- 
scription dates the completion of the 
whole in 1595. 

TREBIZOND (anc. Trapezos), Asia 
Minor. 
The Oeta Hissar, a mosque, called by 
the Greeks the Church of the Golden- 
headed Virgin, and once the cathedral, is 
a quasi-basilican church, about 60 ft. by 
150 ft., with a central dome, a long nave 
and aisles, and short transept, and a very 
deep narthex across the west front. The 
deep sanctuary, or bema, and the aisles 
end in three apses, of which the middle 
one is octagonal outside and windowed. 
There is no women's gallery except over 
the narthex. In front of the narthex is 
an open arcaded porch, and a similar one 
precedes the north transept. The church 
was built by Alexis Comnenus (1081- 



1118), and contains his tomb, long pos- 
thumous ; it is lined with whitewash, 
through which show some traces of its 
mosaic decoration. 

Sta. Sofia, a Byzantine church of un- 
certain date but early style. It has the 
common arrangement of a central dome 
on pendentives carried by four columns, a 
lengthened nave, and short transept, all 
enclosed in a rectangular wall, with three 
eastern apses, the middle one rectangular 
outside. The drum of the dome is do- 
decagonal witliout and pierced with win- 
dows, and has a pyramidal roof. A deep 
narthex lies across the front, and an outer 
narthex has been added in front of this, 
and a similar porch in front of each tran- 
sept end. These three porches are later in 
style than the rest, and have each a triple 
arch with columns, the central opening 
being pointed. The church has been 
turned into a mosque and plastered in- 
side ; but falling plaster has betrayed a 
mosaic of the emperor Alexis III., which 
must date from about 1200. There is a 
very handsome pavement of Alexandrine 
mosaic under the dome. 
TRENT (Trento, Trient), Italy. 

The Cathedral is a late Eomanesque 
church of much interest, on the border 
between Italy and Germany, and showing 
in its architecture the evidences of Lom- 
bard influence on the one hand, and the 
northern Eomanesque on the other. It is 
cruciform, about 225 ft. long and 85 ft. 
broad, or 110 ft. across transept, with a 
nave and aisles of seven bays, the aisles of 
unusual height, separated by high and 
narrow round arches on clustered piers 
with vaulting-shafts. The vaults are all 
groined in narrow bays, and a modern oc- 
tagonal lantern covers the crossing. The 
choir ends in an apse, and small apses 
open from the east wall of each transept. 
There is a gallery at the west end, ap- 
proached by two picturesque staircases en- 
gaged in the aisle walls. Under the choir 
is a crypt, formerly opening into the nave 



488 



TEEVI 



by arches, as at S. Miniato at Florence. 
From the soiitli aisle opens the modern 
Chapel of the Cross, square, with octag- 
onal dome and drum. The exterior is of 
white marble, the front flanked by two 
towers, only one of which is finished. 
The aisle walls have blind arcades under 
the eaves, which are also carried across 
the transept and round the apses. There 
are doorways in the east wall of both 
transept arms, the northerly one covered 
by an interesting projecting porch with 
columns of varied design, resting on one 
side on a lion, on the other side on a group 
of human figures, and supporting a stilted 
round arch, with a truncated gable sur- 
mounted by a crouching lion. The 
present church, dedicated to St. Vigilius, 
the early bishop) of Trent, is the succes- 
sor of various earlier churches on the same 
site. Its oldest parts, the abandoned crypt, 
etc., date perhaps from the building of 
Udalrich (1023), the princijial structure 
from the xii cent, beginning with 1134. 
TEEVI (anc. Trebia), Italy. 

Temple of CLiTrMXUS, a beautiful 
monument of antiquity, though evidently, 
from its construction, not the original 
building of the time of Pliny, but a recon- 
struction, in great part carried out with 
tlic old materials, of the Antonine epoch, 
with later Christian restorations. In the 
V cent, tlie temple was dedicated as a 
church in honor of San Salvatore, and 
from this time date the sculptures of the 
pediments and the interior frieze of the 
cella, in Avhich figures tlic Labarum of 
Constantine and bunches of grapes. The 
pedimonted facade toward the river is 4G 
ft. high ; it has four columns and two 
piers of Corinthian type, two of the col- 
umns, however, presenting spiral flutings, 
and two carved witli scales. There is a 
chamber in tlie basement with an arched 
door, wliich may belong to Pliny's temple. 
The sculptures in the pediment at the 
back resemble the early Cliristian work at 
Eaveuua. 



TEIESTE (anc. Tergeste), Austria. 

The Cathedral (S. Giusto) is an inter- 
esting conglomeration of old churches, 
making a mass about 125 ft. square. The 
exterior is rude and shapeless. Many 
fragments of a Eoman building supposed 
to have been a temple of Jupiter are built 
into the front, which has a plain square 
campanile on the left or northern side. 
The doorway is an old tomb of the Barbii, 
mutilated. The interior consists of five 
aisles — more projierly three naves and two 
aisles — with lateral chapels, and three 
apses at the east. The arcades of the great 
central nave do not corresjiond, being 
adapted to the lateral naves on each side, 
which were once independent churches. 
The northern nave was a plain basilica, flat 
roofed, M-ith aisles and one apse, the south- 
ern a smaller cruciform church, with aisles, 
transej^t arm and three apses, and a domed 
intersection, its soiithern transept arm 
touching the south aisle of the basilica. 
Dr. Kandler, an archaeologist of Trieste, 
who had deciphered the arrangement and 
sequence of the buildings, ascribes the 
northern church, known as Del Santissi- 
mo, to the iv cent., and the southern, S. 
Giusto, to the time of Justinian. Mr. 
Jackson relegates both to the ix or x cen- 
tury. Some time in the xiv, the adjacent 
aisles and the short intervening transei^t 
were pulled away, the nave of S. Giusto 
lengthened to match the other, and the 
sj^ace between, taken for a new principal 
nave, was extended eastward into a great 
apse, the naves of the original churches 
becoming its aisles. Both the original 
apses are lined with mosaics, those in the 
northern apse particularly rich and well 
preserved. The columns of the arcades 
are spoils of classic buildings of irregu- 
lar height, crowned with debased classic 
capitals and carrying stilt-blocks for the 
arches. The prineijial nave has a great 
rose-window, which is the only ornament 
of the facade, and a wooden tie-beam roof ; 
opening from the north aisle is the bap- 



489 



TEOINA 



tistery, not a part of the original basilica ; 

the incomplete bell-tower bears date 1337. 

Triumphal Arch, in the Piazzetta di 

Eiccardo, named from a doubtful tradition 




Fig. 218.— Troja, Cathedral 

that Eichard Cceur de Lion was confined 
there. It is undoubtedly Eoman, though 
it has been contended that it was erected 
in honor of Charlemagne. It is a small 
single arch, with a Corinthian fluted pi- 
laster on each side supporting an entabla- 
ture, above Avhich is a plain attic. It is 
engaged on one side in the wall of a house. 
TEOINA, Sicily. 

The Cathedral, or Matrice of Sta. 
Maria, is picturesquely situated on the 
edge of a high clifl:. Troina was the first 
stronghold held by the Norman conquer- 
ors of Sicily, and the cathedral, built by 
Eoger I., was finished in 1081. It has 
since been pretty much rebuilt, and is 
now a three-aisled cruciform church, with 
a nave of five bays, slightly projecting 
transept, and square-ended choir with two 
flanking chapels. The exterior is pict- 



uresque, the transept very high, and the 
crossing covered by a square tower. The 
front has a gable over an order of pilas- 
ters, and a massive square tower Avith 
gabled roof on the right 
flank. The style is 
mostly modern, but the 
walls of the east end are 

f" Y , « ^H original, and so is the 

IH lower story of the tower 
with its open arches, 
TEOJA, Italy. 

The Cathedral, 
dedicated to Sta. Maria 
Assunta, is in plan a 
well developed Latin 
cross, measuring in 
length about 180 ft., 
and 125 ft. across the 
transept. The nave and 
aisles are separated by 
seven round arches on 
each side, supported on 
high columns of granite 
with Corinthian capi- 
tals. The aisles are 
groined in square bays, 
but without transverse 
arches. There is no triforium : the clere- 
story is pierced by single small round- 
headed windows. The nave and transept 
are flat-ceiled. The crossing is an oblong 
about 26 ft. by 40 ft., bounded by a sin- 
gle high round arch on each side springing 
from comjiound piers. Each transept end 
has one narrow bay answering to the aisle, 
and a square bay beyond. The choir is 
a single square groined bay with narrow 
aisles on each side, and ends in a semicir- 
cular apse. The exterior is most interest- 
ing. The fa9ade is in two distinct stages. 
The lower is raised on a high basement, 
and consists of a blind arcade of seven high 
round arches springing from flat pilasters 
with Corinthian capitals. The arches 
have their spandrels and tympana deco- 
rated with a simjDle mosaic, and enclose 
alternately a lozenge and a circle. The 



490 



TROY 



whole arcade shows plainly the Pisan in- 
fluence. The centre arch, twice as wide as 
the others, encloses a square doorway with 
flat pilasters and horizontal lintel en- 
riched with reliefs, and a round bearing- 
arch over it with plain tympanum. The 
opening is closed by a pair of remarkable 
bronze doors with decoration in niello, 
dating from 1119. The lower story is 
capped by a heavy cornice of classic detail, 
much decorated. The second is divided 
into three compartments answering to 
nave and aisles, by couijled columns resting 
on lions, carrying one broad arch the full 
breadth of the nave, covei'ed by alow gable 
and filled with a great wheel- window 
about 20 ft. across, the upper half en- 
closed by a broad sculptured archivolt. 
High half gables simulate the aisles. On 
the flanks of the church the blind arcade 
and cornice of the front are continued, 
the arch heads and spandrels filled with 
reliefs and varying pat- 
terns in mosaic. One 
arch encloses a doorway 
like that of the front but 
smaller ; others contain 
single-arched aisle win- 
dows. The clerestory has 
a blind arcade of round 
arches on engaged col- 
umns, with voussoirs of 
black and white stone, 
simple round - headed 
windows in alternate 
arches. T h e transept 
ends are modernized. 
The cast end is a flat 
wall with three project- 
ing apses. The cathe- 
dral, founded early in 
the XI cent., was par- 
tially burned in 1007 and much enlarged 
in its rebuilding. {See Fiij. 218.) 
TROY. See lUon. 
TRYSA. Sec G/dlbascJii. 
TURIN (Torino), Italy. 
The Palazzo Madama delle Tokhi 



contains the most notable of the few re- 
mains of Roman building in Turin, em- 
bodying, though in a much altered form, 
the ancient Porta Palatina. In its present 
condition the building presents a fa9ade 
about 114 ft. in length, with two polygonal 
flanking towers of mediaeval construction 
nearly 80 ft. high, pierced by four stories 
of simple round-arched windows, and ter- 
minating in bold arched corbel-tables and 
forked battlements. The towers are Joined 
by a lower wall in three stories, the flrst of 
plain masonry pierced by the entrance- 
arch, the second and third having each an 
order of pilasters with simple moulded 
capitals. In the second story the inter- 
vals are occuijied by large round-arched 
windows, in the third by square windows 
with small pilasters, carrying an entabla- 
ture. The palace is said to have been suc- 
cessively the residence of Charlemagne, 
Charles the Bald, and Charles the Fat, and 




Fig. 219. — Turin, Palazzo Madama delle Torri. 

it is conjectured to be the Avork of the 
Lombard king Desiderius, though some 
authorities remand it even to Roman 
times. The upper parts at least of the 
sixteen-sided towers, with machicolated 
cornices and forked battlements, are medi- 



491 



TURMANIN 

4* 




■^Tfv^^r^j^'*' 



Fig. 220. — Turin, La Superga. 



«Yal. In 1718 the royal widow (Madama 
Eeale), mother of Victor Amadeus II., re- 
built, or added, the western half of the 
palace, of which the conspicuous part is 
the fa9ade of Juvara — a rustic basement, 
with a great order of Corinthian pilasters 
above it covering the principal story and 
a mezzanine, supporting a high attic. A 
double outside stairway in baroco style 
leads up to the principal entrance. {See 
Fig. 219.) 

La Superga, the royal burial-church 
and convent, lies about three miles east 
from Turin. It is the chief work of Ju- 
vara, built in 1717-1730 for Vittore Ama- 
deo II., as a votive church. The build- 
ings of the convent form a quadrangle 
lined with a cloister, at one end of which 
stands the imposing church, a round aisle 
enclosing an octagonal nave, which is 
crowned by a high dome on a circular 



drum. It is faced on the outside by a 
great order of composite pilasters, cover- 
ing two stories of windows and niches ; 
and on each side a broad wing, hiding the 
many-storied palatial architecture of the 
convent, supports a tall rococo tower, 
with an open belfry and bulbous spire. 
A broad walled terrace encircles the 
church, and the great order is extended in 
front into a deep tetrastyle portico. An 
upper order of pilasters surrounds the 
drum of the dome, broken forward in 
coupled columns between the round- 
arched windows ; and the ribbed dome is 
crowned by a rococo lantern. Within, a 
ring of square chapels surrounds the nave, 
and an order of eight great columns sup- 
ports the drum. {See Figs. 220, 221.) 
TURMANIlSr near Aleppo, Syria. 

The Church is in some respects very 
like that at Kalb Liizek {q. v.), though 



492 



TUSCULUM 



simpler in detail. It is a basilica of 60 ft. 
by 120 ft., its nave and aisles separated by- 
two arcades of seven arches borne by col- 
umns. At the west entrance is an open 
porch between two three-story towers, en- 
tered through a wide arch. Over this a 
colonnaded loggia fronted the end of the 
nave, which is pierced by a great triple- 
shafted window. At the east end a broad 
polygonal apse is recessed between two 
half gables that cover the ends of the 
aisles, containing the two chambers that in 
these churches usually flank the apse. On 
the sides the aisle windows are in groups of 
twos and threes, separated by two doors in 
each aisle. The gabled roof is gone, but 
the trusses apparently bore on corbelled 
shafts, as at Kalat Siman and Kalb Lii- 
zeh. The stone-cutting of the church is 




Fig. 221. — Turin, La Superga. 



admirable, the detail refined and abun- 
dantly decorated with carving. It seems 
to date from the vi cent., and suggests 
the prototypes of many of the forms of 
Romanesque churches. Close to the 
church is a ruined building consisting of 
a great hall in each of two stories, 40 ft. 
by 76 ft., surrounded by two stories of por- 
ticoes built of great monolithic pilasters. 
About it are remains of smaller buildings, 
one a double tomb, and it is thought by 
De Vogiie to have been a hostelry attached 
to tlie church. 

TUSCULUM. See Frascati. 
TYXDAEIS, Sicily. 

GYMXASirM(?), a large structure with 
two fine stone arches, lying southeast of 
the theatre, believed to be identical with 
that mentioned by Cicero. It is rectangu- 
lar in plan and the masonry is very fine. 

Theatre, of Greek foundation, but 
altered, especially about the stage-struct- 
ure, under the Ilomans. The cavea is 
excavated in the slope of a hill looking 
toward tlie sea. The plan is a semicircle ; 
the exterior diameter is 223 ft., that of 
the orchestra, 82 ft. The masonry is en- 
tirely in excellent ashlar of sandstone, ex- 
cept the remains of tlie Roman jDrosce- 
nium, which is built of brick. The cavea 
is divided by radial stairs into nine cunei, 
or wedge-shaped sections. 
TYRE (Sur), Plurnicia, Syria. 

Ramparts of tlie city, which according 
to Arrian were about 147 ft. high. There 
are but very scanty remains in masonry of 
rectangular blocks of astonishing size. 

The Tomb of Hiram, so called, S. E. 
of tlie city, consists of a base of huge 
blocks, eacii about 13 ft. by 9 ft. by 2 ft., 
sujjporting a great slab which overhangs 
on all sides and supports a massive sar- 
cophagus with a cover of pyramidal form. 
The total height is about 20 ft. Beneath 
the monument there is a rock-chamber, to 
which a fiiglit of steps gives access. The 
date of the tomb is uncertain, but is prob- 
ably prior to the Roman domination. 



493 



UDINE 



UDINE, Italy. 

The Cathedral is a Gothic building 
of the XIV cent., which has been almost 
entirely rebuilt, with little regard for the 
original style. The fa9ade and the great 
tower on the north side still remain as 
first built. The former is in five divisions 
answering to the nave and two aisles on 
either side. The centre division has a 
doorway with a crocketed and pinnacled 
gable and much sculpture. A line of 
brick arches crosses the front above this 
doorway, interrupted by two round win- 
dows, and above this again is a central 
round window lighting the nave. The 
roof gable is broken at each division, the 
pitch being everywhere the same. The 
great octagonal tower at the junction of 
the north transept with the choir has a 
diameter of 50 ft., with a lower story of 
stone, the remainder being of brick and 
unfinished. The cathedral is said to have 
been built by Pietro Paolo delle Masegne, 
Avho was called from Venice for the pur- 
pose in 1366. 

Palazzo Pubblico (Town-hall), a 
very perfectly preserved example of the 
broletto or town-hall of northern Italy, 
and remarkable for the closeness with 
which its designer followed the Venetian 
manner. It is a small rectangular build- 
ing of two stories, covering an open plat- 
form, raised by several steps above the 
street and surrounded by a balustrade, 
which served as the public exchange. The 
first story consists of an open arcade with 
ten pointed arches on the front, and five 
on the side, carried on round columns 
with richly sculptured capitals, the vous- 
soirs alternately of red and white or gray 
marble. The columns are set on a stylobate 
and connected by a beautiful balustrade of 
colonnettes with small cusped arches. This 
story is divided by a row of columns and 
arches supporting the second floor without 
vaulting. The second story presents a flat 
wall of alternate courses of red and white 
marble, witli three groups of windows in 



the front, the central group of five open- 
ings, the side groups of three, the open- 
ings pointed and delicately cusped, and 
the whole group enclosed in a square 
laanel in the style of the Venetian palaces. 
The central group opens on a balcony 
from which the magistrates addressed the 
people. The cornice is modern. The 
building dates from the xv century. 
URBINO, Italy. 

The Cathedral, adjacent to the Ducal 
Palace, was built at nearly the same time 
in the xv cent., under Baccio Pintelli. It 
is a Renaissance church, cruciform, with 
a broad nave and narrow aisles separated 
by four piers on each side, a projecting 
transept of the same breadth as the nave, 
and a large rectangular choir with a long 
chapel on either side. Shallow apsidal 
recesses serve for chapels along the aisles, 
and similar recesses terminate the transept 
arms and the choir. The crossing is cov- 
ered by a round dome. 

The Ducal Palace, built by Duke 
Frederic II. during the latter half of the 
XV cent., chiefly from the designs of a 
Dalmatian architect, Luciano di Laurana, 
but finished under Baccio Pintelli, is one 
of the most notable examples of the cin- 
que-cento style, applied to domestic archi- 
tecture. It is built on a hillside, and its 
lower portions are built up from a series 
of battering arcades. The buildings cover 
a rectangular area of about 175 ft. by 300 
ft., with a wing of irregular shape thrown 
out obliquely from its northern end. The 
great courtyard, nearly 80 ft. square, is en- 
closed on the lower floor by an open vault- 
ed arcade of round arches on composite 
columns, over which is an order of Corin- 
thian pilasters, with square windows with 
simple dressings in the intervals. The 
principal rooms, all vaulted, are for the 
most part richly decorated with paintings 
and bas-reliefs ; especially the great hall, 
43 ft. wide and 110 ft. long. There is an 
arcaded vestibule and an entrance-hall 
with two richly sculptured fireplaces. 



494 



VALETTA 



The doors and windows, pilasters, and 
cornices, and other features, are elabo- 
rately enriched with arabesque carvings, 
mostly by Francesco di Giorgio of Siena, 
and Ambrogio Baroccio. The exterior is 
somewhat uninteresting, the only striking 




Fig. 222. — Ucbino, Pal. Ducale. 

jiortion being in the centre of the long 
fa9ade, where a section of wall is enclosed 
between two older flanking round towers 
with corbelled parapets and conical roofs, 
the centre of the wall being occupied by 
three open loggias, one above another, 
with pilasters and entablatures and balus- 
trades. Most of the windows are square 
0])eniiigs with pilasters supporting a heavy 
entablature. The cornices are light and 
surmounted by balustrades. {See Fig. 
222.) 
VALETTA, Malta. 

The CiiURCir of St. Johx, built by 
the great order of the Knights of Malta, 
was begun in 1573 from the designs of a 
certain Cirolamo. Its plan is a rectangle 
about 187 ft. long by 118 ft. wide, with a 
nave about 50 ft. wide bordered on each 
side by an arcade of five broad and high 



arches springing from great square piers, 
faced with an irregular order of pilasters 
from whose cornice springs the slightly 
pointed barrel-vault of the nave, each bay 
of which is pierced by a single round win- 
dow. The aisles are divided into square 
chapels connected by narrow doors. The 
choir, occupying the two easternmost bays 
of the nave, is raised by four steps, and 
furnished with richly carved stalls, and 
the eastern wall is flat. The interior is 
very richly decorated with paintings and 
has reliefs, and costly marbles line the 
walls. The pavement is made ujd of nearly 
four hundred sepulchral slabs of various 
marbles covering the graves of the 
knights. On the two flanks are a sacris- 
ty, an oratory, and various subsidiary 
apartments, and on the south a rectangu- 
lar Campo Santo or cemetery. The fa9ade 
has a central doorway between four niches, 
and is flanked by two angle towers. The 
church was built under successive grand 
masters of the order, and paid for by the 
fees of the knights. Since the i)ractical 
extinction of the order it has been a 
cathedral church, the proj^erty of the 
government. 
VALYISCIOLO. Italy. 

A Monastery of the Cistercian order 
founded by a colony of monks from the 
great monastery of Fossanova {q. v.), in 
1151. The monastic buildings remain al- 
most intact from tliis period, and are of 
extreme interest because their style is 
midway bet-ween the plain Komanesque 
tunnel-vaulted style of the first half of the 
XII cent., as exemplified at SS. Vincenzo 
ed Anastasio in Eome, and the early Goth- 
ic style which appears in the Cistercian 
monasteries erected in this province after 
1175. The church is a simjile basilica 
consisting of a nave and two aisles com- 
posed of five bays, each ending in a square 
apsidal chapel. The measurements are : 
length, 150ft.; width, 58 ft.; width of 
nave, 25 ft. ; do. of aisles, 13 ft. There 
being no transept, the usual two chapels on 



495 



VAPHIO 



each side of the apse are reduced to one ; 
a deviation from the usual Cistercian habit 
in the direction of a type used for mon- 
asteries of lesser size. The arches of the 
nave are pointed, broad and low, and en- 
tirely without moulding. The vaulting 
compartments are slightly oblong, in the 
nave across the axis, and in the aisles along 
the axis, of the church. The four heavy 
piers of the nave are square and low, and 
are divided from the massive arches merely 
by a cyma recta moulding. On this rests a 
corbel from which springs a plain pilaster 
on whose capital rests the transverse arch 
between the bays. Each bay is covered 
with a groined vault and lighted by a 
round-headed window. The church is en- 
tirely built of local stone. In style it is 
unlike anything in Italy ; a few churches, 
built also by Cistercians, may be compared 
to it : such is Sta. Maria de Plumine near 
Ceccano {q. v.). The cloister is slightly 
posterior to the church, the foliated Gothic 
capitals of its colonnettes show that it can- 
not have been built much before 1200 at 
the earliest ; probably later. It measures 
65 ft. each way, and each of the four sides 
is divided into five bays with groin vaults 
and transverse arches. The heavy piers 
which divide these bays and support their 
vaults enclose a series of round arches 
supported on coupled colonnettes with 
simple slender shafts, and elegant bell- 
shaped foliated capitals of early Gothic 
design. Opening out of the east side of 
the cloister, as usual, is the chapter-house, 
32 ft. square, covered by six groined 
vaults supported on slender shafts. In 
style it is contemporary with the church 
and earlier than the cloister. The re- 
fectory occupies all the south side of 
the quadrangle except a vaulted passage 
leading out to the garden. It is of con- 
siderable size (55 ft. by 30 ft. ) and height, 
its ribbed groin-vaults are remarkably 
bold and broad, and give an idea of simple 
architectural grandeur that makes this 
the finest refectory of the Cistercian mon- 



asteries in Italy. A comparison with the 
refectories and chapter-houses of Casamari 
and Fossanova makes it probable that the 
chapter-house at Valvisciolo was built be- 
tween 1170 and 1180, and the refectory in 
the decade before 1200. [A. L. F., Jr.] 
VAPHIO, near Amyklai, Laconia, Greece. 

Beehive or tholos Tomb of the char- 
acter of those at Mycense, excavated in 
1889 on the right bank of the Eurotas. 
The dromos or passage of approach is 
nearly 100 ft. long, the diameter of the 
tomb about 39 ft. The ornaments, uten- 
sils, and weapons of gold, silver, and 
bronze found in this tomb are of great 
richness, and form an important addition 
to the knowledge of Mycenaean civilization 
acquired at other sites. 
VEGLIA, Dalmatia. 

The Cathedral is a basilica with side 
aisles, and a nave of 90 ft. by 22 ft. in 
nine bays. Stilted round-arched arcades 
are carried on antique shafts of irregular 
heights which are pieced out by capitals 
of Byzantine form, apparently of the xii 
century. An inscription declares that the 
church was built by a Bishop John, and 
there was such a bishop from 1186 to 1188. 
The old east end, probably apsidal, was 
burned in the last century, and a new 
choir consecrated in 1743. This has two 
handsome ambones, probably earlier (xvi 
century). In the north aisle is a Gothic 
chapel, said to be built by a Count Frangi- 
panni, who died near 1405. Over a side 
altar is very rich reredos of silver, parcel- 
gilt. It contains twenty-six niches in two 
tiers, filled with figures of saints, and 
bordered with rich ornament, and dates 
apjDarently from the xv century. There 
are fine silversmiths' work and embroid- 
ery in the treasury. 

S. QuiRiJsro, attached at right angles 
to the west end of the cathedral, is said to 
have been the original cathedral. It is a 
double church, in two stories, with nave 
and aisles to each, and three apses at the 
southern end. The lower church is very 



4^6 



VENICE 



plain, and now used as a wine vault ; the 
u^iper one carries its round-arched arcades 
on columns with cushion-capitals. It has 
been much changed by modern restora- 
tions. Its campanile is modern in its 
upper story and bulbous dome. 
VENICE (Venezia, Veuedig), Italy. 

AccADBMiA di Belle Arti (Academy 
of Fine Arts). The ancient convent of 
La Carita, of which a portion was built by 
Palladio in 1552, consisted of two courts, 
a larger and a smaller, with their sur- 
rounding buildings, including a church. 
Tliese were mostly destroyed by fire in 
1G30. The portions which remained, with 
the buildings erected on the ruins, are 
now occupied by tlie galleries of pictures 
and otlier works of art. The smaller of 
the two courts, now desti'oyed, was flanked 
by four great Corinthian columns on each 
side, nearly 40 ft. high, behind which 
were buildings one of which was occu2)ied 
as the sacristy of the church. Prom this 
fore-court the great cloister was entered. 
Some portion of the original work still 
stands, and is surrounded by the building 
of the Academy. It is three stories in 
height, each with an order of columns, 
Doric in the first story, Ionic and 
Corintliian above, the two lower 
enclosing the round arches of open 
vaulted galleries, the upper col- 
umns engaged, and backed by a 
wall with square windows in the 
intervals. The exterior is quite 
plain, with square windows with- 
out decoration, and Avith broad 
belts separating the stories. 

Annunziata. See Sfa. Jfaria 
Z()/)rin'(/o. 

Tlie Bhidge of Sighs connects 
the upper stories of the Ducal 
Palace and the building on the 
opposite side of the small canal 
called the Rio del Palazzo, which 
contains the prisons of state, but it has no 
architectural relation to eitlier building. 
Tlie lu'idge consists of an elliptical arch 



some 30 ft. above the water, with a moulded 
archivolt decorated with heads, the span- 
drels with reclining figures in relief, above 
which is a horizontal cornice supjDortiug 
an order of rustic pilasters with five in- 
tervals, occupied by square-headed win- 
dows and panels. The whole is crowned 
by a heavy segmental pediment with a fig- 
ure of Justice seated between lions. The 
bridge was built in 1597 by Antonio Con- 
tini, and has been made famous in litera- 
ture. 

Ca' d'Oro, built probably in the lat- 
ter half of the xiv cent., one of the best 
known of the palaces of the Grand Canal 
and probably the richest example of the 
domestic Gothic of Venice. The facade 
appears to have been designed in accord- 
ance with the almost invariable conven- 
tion of the Venetian palaces, a centre 
and two Avings ; but in that case only 
one of the wings was built. The whole 
front of three stories is about 70 ft. long, 
of which what we may call the centre, oc- 
cupying about 40 ft., is recessed behind 
open loggias. That of the first story has 
five arches, the middle one rouiul, the 
others pointed, all surrounded by the 




Fig. 223.— Venice, Ca' d'Oro. 

usual Venetian billet -moulding. The 
spandrels are decorated with disks of col- 
ored marble. In the second and third 



4'.)7 



VENICE 



stories the arcades are of six pointed and 
cusped arches bearing the peciiliar Vene- 
tian tracery imitated from the Ducal Pal- 
ace, of cusped quatref oils, round iu the sec- 
ond story and pointed in the third. These 
arcades rest on marble columns with bal- 
ustrades between and beautifully designed 
capitals, and are flanked by larger single 
arches with ogee heads, traceried in the 
second story, simply cusped in the third. 
These four arches have single projecting 



lona cross. The whole front is faced with 
thin plates of marble, and its ornamenta- 
tion belongs to various periods, the palace 
itself having been built about 1400. It 
was extensively restored about 1850 by the 
famous dancer Taglioni, who lived in it. 
{See Fig. 223.) 

The Campanile of St. Mark's stands 
detached in the Piazza San Marco, in front 
of the church. It is a tower about 43 ft. 
square, built of simple brickwork to a 




Fig. 224. — Venice, Library, and Loggia of Campanile. 



balconies of the usual Venetian Gothic 
form. The wing has in the first story 
two double arched windows with cusped 
ogee heads, joined by a long balcony ; in 
the second and third stories is a panelled 
wall between two pointed balconied Avin- 
dows in each story. The windows as well 
as the arcades are all enclosed in square 
panels. The stories are divided by richly 
decorated string-courses, the angles are 
emphasized by twisted shafts. The front, 
with new cornice, is crowned by a parapet 
composed of flat plates of marble, alter- 
nately high and low, in the shape of an 



height of 160 ft. above the pavement, the 
wall broken only by pilaster-strips, joined 
by round arches enclosing a shell-like dec- 
oration. This mediaeval portion of the 
tower was complete as early as 1150. The 
belfry which crowned it was repeatedly 
destroyed by fire and rebuilt, until in 1510 
the tower was finished in its jiresent form 
by Bartolomeo Buon. The present belfry 
consists of four round arches on each face 
supported on small columns, enclosed be- 
tween strong angle - pilasters and sur- 
mounted by a heavy entablature. Above 
this is a high square pedestal ci'owned by 



498 



VENICE 



a pyramidal spire, the whole height being 
about 320 ft. The belfry is reached by a 
continuous inclined plane of very gradual 
slope, between inner and outer walls, and 
lighted by a line of small round-headed 
windows in each face of the tower. At 
tlie foot of the tower, on the side facing 
the church, is the sumptuous Loggietta, 
begun in 1540 from the designs of Sanso- 
vino, at first intended simply as a meeting 
place for the nobles, but serving later as an 
oflftce or waiting-room for the procurator 
having charge of the palace guard. It 
consists of an order of Composite columns 
on high pedestals, standing forward in 
couples under a very high attic crowned 
by a balustrade, each couple enclosing a 
niche occupied by a statue. The statues, 
four in number and of bronze, are by 
Sansovino, I'epresenting Pallas, Apollo, 
Mercury, and Peace, and arc admirable 
works. Between the couples are round- 
arched double doors, with figures in the 
spandrels. The high attic is divided by 
pilasters into sjiaces corresponding witli 
those below and filled witli spirited l)as-re- 
liefs in marble. In front is a raised terrace 
enclosed by an open balustrade, the entrance 
protected by a beautiful bronze gate cast by 
Antonio (Jai in li.JO. (See Fif/s. 2^4> 2o5.) 

La Carita. See L'Accaclemia. 

The Dog AN A di Mare is a picturesque 
object in a conspicuous position, at the 
entrance of tlie Orand Canal. It is a Re- 
naissance building, built in 1GS2 from 
tlie designs of lienoni. of a single story 
consisting of a rustic arcade of narrow 
arches on plain square piers surmounted 
by a simple cornice and balustrade. At 
the angle of the canal is a low square tow- 
er in two stages, witli a projecting portico 
of rustic Doric coluinns on each face, and 
above, a plain story with rustic quoins and 
square-headed windows crowned by a ped- 
estal and a globe sustained by two Atlases, 
bearing a gilded figure of Fortune, which 
turns appropriately with the wind. Tliis 
building is the custom house. 



Doges' (or Ducal) Palace. See Palaz- 
zo Ducale. 

Fabbrica Nuova (the New Build- 
ing). The westerly end of the Piazza S. 
Marco was formerly occupied by wings of 
the Procuratie Yecchie on the north, and 
the Procuratie Nuove on the south side. 
Between these two stood the church of 
S. Gemiguano, built from the designs of 
Sansovino. During the French occupa- 
tion of Venice this church was taken down 
to make way for an extension of the royal 
palace, which occupied the Procuratie 
Nuove. In its place the present building 
was erected by tlie architect Giuseppi 
Soli. Thei-e are two stories ; the first is 
partly open, forming a central entrance to 
the Piazza, with lines of columns support- 
ing the stories above. The facade on the 
Piazza is substantially a continuation of 
the design of the adjoining building on 
tlie south, with the addition of a high at- 
tic decorated with reliefs and statues on 
pedestals. The rear fagade is difi'erent, 
the lower story composed of rustic arches 
on piers, the second of an order of Corin- 
thian pilasters, M'ith an attic ; the inter- 
vals occupied by square Italian windows 
with horizontal caps. {See Fig. 235.) 

La Fenice (Phaniix), one of the most 
celebrated of Italian theatres, was built 
originally in 1T90 from the designs of Sel- 
va, and rebuilt after a partial destruction 
by fire in 1829. It has two fa9ades. one on 
the Piazza, or Campo, S. Fantino, and the 
other on the small canal at the opposite 
end of the buildings. The former is about 
05 ft. long, in three stages, with a pro- 
jecting portico of four Corinthian columns 
in front of a recessed vestibule, above 
which is a central arch flanked by niches 
witli statues. The rear fa9ade is a high 
lilain M'all with pedimentcd windows and 
Doric cornice over a rustic arcade. The 
auditorium, with its surrounding corri- 
dor, is comprised within a rectangle of 
about u;5 ft. by 85 ft., to which the only 
approach is by two passages leading from 



4H9 



VEXICE 



two sides of tlie theatre and meetiug at 
a corner of the surrounding corridor. 
The phm of the auditorium is that of an 
elongated horseshoe, surrounded bj' five 
tiers of boxes and covered by a flat dome 
about 50 ft. above the floor. Its diameter, 
exclusive of the boxes, is about 60 ft. ; the 
distance from the curtain to the front 
of the boxes, 68 ft. The capacity of the 
theatre is three thousand. The breadth of 
the curtain opening is about 45 ft. ; the 
depth of the stage about 60 ft. Two tol- 
erably commodious staircases at the angles 
of the corridor give communication be- 
tween the various tiers, and from the cor- 
ridor in the rear of the auditorium a 
double stair leads to a decorated /(9_?/er. 

The EoNDACO dei Tedeschi was one of 
the buildings, which at an early period of 
the commercial prosperity of Venice the 
Republic provided, to serve as storehouses 
and lodgings for the great numbers of for- 
eign traders who frequented the city. It 
was burned in 1505, and was replaced by 
the present structure, a square of about 
160 ft. on the Grand Canal, with an inte- 
rior court about 60 ft. square. The fa- 
cade on the canal is of very simple design, 
in four stories, the first story having in 
the centre a recessed porch of five round 
arches on square pilasters, above which 
the whole centre is slightly recessed, with 
coupled windows in each story, those of 
the second story arched. The thin cor- 
nice has a singular battlement of detached 
square pedestals, each carrying a sort of 
finial. The interior court has an open ar- 
cade on the first story, and above it three 
similar stories of round-arched windows. 
Era Giovanni Giocondo, of Yerona, has 
been called the architect of the building, 
but documents seem to show that it was 
the work of a German called Hieronymus, 
or Girolamo Tedesco. 

EoxDAco DEI TuRCHi, a t}^5ical exam- 
ple of the early Byzantine palaces of Ven- 
ice. Its exact age and origin are un- 
known ; but it is presumed to date from 



the X or xi century. It was long the 
property of the dukes of Eerrara, and was 
purchased of them in 1621, and devoted to 
the purposes of an exchange or warehouse 
for the use of the Turkish merchants who 
frequented Venice in great numbers. The 
building had in the present centurv, 
through long neglect and the slightness 
of its construction, fallen into hopeless de- 
cay, and was only saved from destruction 
by a complete restoration in 1869. The 
front on the Grand Canal, the only por- 
tion remaining of the original palace, 
which was much more extensive, is about 
160 ft. long, built of brick faced with 
thin slabs of marble, and consists of a cen- 
tral portion with two stories of long open 
arcades^ flanked by two square pavilions 
three stories in height, but without pro- 
jection from the main line of the front. 
The lower arcade, close to the level of the 
water, has ten stilted round arches rest- 
ing on marble columns with large foliated 
capitals. The arches are surrounded by a 
flat band of colored marble, enclosed by a 
delicate dog-tooth ornament both on the 
outside and inside, and with small roun- 
dels of marble in the sj^andrels with fig- 
ures in bas-relief of animals, etc. The 
upper arcade has eighteen arches, like 
those below in form and treatment, and 
with similar roundels in the spandrels. A 
balustrade of delicate colonnettes with 
arches fills the intervals between the col- 
umns. Tlie cornice is small and simple, 
and above it is a series of nine gables, like 
dormer-fronts, connected by small open 
arches, and each panelled with white or 
colored marble. The flanking pavilions 
have arched windows in each story, with 
panels decorated in relief, in the third 
story by a light open balustrade. Above 
the second story arches is a sculptured 
frieze of round-headed panels of white 
marble, surrounded by bands of colored 
marble, edged with dog-tooth ornament. 
This decoration was probably continued 



originally throughout the whole length of 



500 



VENICE 



the second story frieze, and is one of the 
most characteristic features of Byzantine 
ornament. 

Frari. See 8ta. Maria Gloriosa. 

Gesuiti. See Sta. Maria clei Gesuifi. 

The Library of St. Mark, one of the 
most celebrated and familiar of all the 
buildings of the Italian Renaissance, and 
commonly regarded as the greatest work 
of its architect, Saiisovino. It occupies 
one of the most conspicuous sites in \"en- 
ice, on the west side of the Piazzetta, over 
against tlie Ducal Palace, with a front on 
the Piazzetta of aljout 207 ft., and toward 
the sea and the Piazza of about 50 ft. It 
is of two stories, each with an order of en- 
gaged columns, Eoman Doric in the first 
story, Ionic in the second, the angles 
strengthened by pilasters. In each the 
intercolumniations are filled l^y round 
arches, those of tlie lower story open and 
springing from simple pilasters with 
moulded im^iosts, those of the second 
story from coujiled Ionic columns, de- 
tached and bearing an entablature which 
forms the impost of tlie arch. In both 
stories the arclies have panelled soHits, 
keystones sculptured with heads of men 
and beasts, and reclining figures in the 
spandrels. The upper order stands on a 
balustrade -course, and in both orders the 
frieze is of unusual height and decorated 
with sculpture, the metopes of the lower 
being charged alternately Avith medallions 
and emblematic devices. The upper en- 
tablature is developed to such an extent — 
being proportioned as a crowning feature 
of the whole fa9a(le rather than of its own 
order — that its heiglit is nearly two-thirds 
that of the column, and its frieze contains 
flat windows enclosed in a frame of mould- 
ings with its spaces between profusely 
decorated with festoons of flowers and fruit 
held by figures of children. Tiie building 
is crowned by a higli balustrade of wliicli 
the pedestals carry statues, except those 
over tlie angles, whicli support tall obelisks. 
lu the centre of tlie lower arcade on the 



224, 235.) 
See Sta. 



Piazzetta an arched doorway fianked by 
caryatids ojDens into an imposing double 
staircase leading to the second story, con- 
taining several halls, of which the principal, 
formerly containing the library, occupies 
the northern third of the building, and has 
a fine vaulted ceiling painted by Tintoret 
and Paul Veronese. The books were re- 
moved in 1812 to the Ducal Palace, and 
the whole building now forms a part of 
the royal palace. It was begun in 1536 
by Sansovino, and finished after his death, 
but in accordance witli his designs, by 
Scamozzi in 1582. {Sec Figs 

MaDON'STA DEI MiRACOLI. 

Maria dei Miracoli. 

Madoxis^a del Orto, a late Gothic 
church of brick witli a singular and rather 
interesting fac^ade, containing an arched 
doorway with a crocketed ogee gable, 
pinnacled with statues. Over the door- 
way is a large rose-window from which 
the tracery has disappeared, and at the 
sides are two beautiful four-light windows, 
one in the end of each aisle, the shafted 
mullions crossed by transoms. The rich 
gable cornice of the nave is surmounted by 
canopied pinnacles bearing statues, while 
the aisles are crowned by a sloping para- 
pet above the cornice, consisting of a line 
of 2)ointed and cusped niches with statues. 
On the south wall is a tall square brick 
campanile with a round cupola above the 
belfry stage, surmounted by a high round 
dome. The interior, lately restored, has 
pointed nave arches resting on marble col- 
umns with XIV cent, capitals, and a flat 
wooden ceiling decorated with color and 
gilding. The church dates from the end 
of tlie XIV cent., and contains several im- 
portixnt pictures of Tintoret, John Bellini, 
Cima da Conegliano. and other masters. 

]\IiXT. See Zccca. 

Palazzo dell' Ambasciatore, a xiv 
cent. Gothic palace, of which the front is 
of brick in three stages of nearly equal 
height, with a high stone basement, square 
angle quoins, and twisted angle shafts with 



501 



VENICE 




'^^ ^'--fi^W^ 




Fig. 225. — Venice, Palazzo Cavalli. 

bases and capitals, and decorated string- 
courses. In the centre of the lower stage 
is an ogee-arched doorway and on either 
side of it two stories of windows, the lower 
segmental-arched, the upper square. The 
second and third stories have central ar- 
cades of cusped ogee arches, those of the 
second story with quatrefoils above, and 
on eaoli side two single windows Avith ogee 
heads and pilasters in the Jambs. All the 
windows of the second and third stories, as 
well as the arcades, are enclosed in squared 
panels formed by a thin line of billet 
moulding. In each side of the second 
story stands a decorated niche containing 
a statue of a knight. 

Palazzo Badoer Participazio, an 
interesting though much dilapidated xiv 
cent. Grothic palace. Its large brick front 
is in four stories, with its openings dis- 
posed without regard for symmetry, and 
with much decoration of an unusual char- 
acter. The square doorway is enclosed 



by flat architraves of marble, and small 
windows are irregularly disposed on either 
side. The second story has the central 
arcade of five cus|)ed pointed arches with 
slightly ogee heads, divided by columns, 
and enclosed in a square panel. Over the 
centre of the panel is a cusped arch en- 
closing an inlay in marbles of various col- 
ors, with a medallion bearing a peacock 
in relief. In the third story is a similar 
arcade without finials or tracery, and with 
a small A^enetian balustrade running be- 
tween columns of the three middle arches. 
The billet moulding is used as a border 
everywhere. Broad bands of marble with 
arabesques surround the detached windows, 
and serve as string-courses and as a frieze 
uiider the cornice. This building is per- 
haps the only one in Venice where such a 
decoration is to be found, and some traces 
of later j^ainted decoration are to be seen on 
the walls. (Recently restored and altered. ) 

Palazzo Bianca Oapello. See Pal- 
azzo Trevisan. 

Palazzo Camerlinghi, an early Ee- 
naissance palace on the Grand Canal, at 
the end of the bridge of the Rialto, built 
about 1525 from the designs of Berga- 
masco. It has three facades of Istrian 
marble, of which the pxincipal one on the 
canal has a breadth of about 68 ft., in 
three stages, the angles marked by coupled 
pilasters, with a single window in the in- 
terval, and carrying entablatures which 
cross the front. The first stage has an 
arched doorway in a small engaged portico 
of two Corinthian columns on pedestals, 
flanked by two tiers of plain windows. 
The two upper stories alike have round- 
arched windows arranged in groups ; and 
the front is crowned with a meagre cornice. 

Palazzo Cavalli, a xv cent. Gothic 
palace, much like the Palazzo deir Am- 
basciatore in the arrangement of its f a9ade, 
which is in three stories and in three nearly 
equal vertical divisions, the wings being 
almost as broad as the centre. In the sec- 
ond and third stories the centre is filled 



502 



VENICE 



with a continuous mass of tracery consist- 
ing of an arcade of five pointed arches in 
each, interlocking with circles and quatre- 
foils above them, that in tl^e second story 
modelled on that of the Ducal Palace. 
Below is a broad ogee-arched doorway 
flanked by two half stories of windows. 
The wings make an effective contrast to 
the centre, the plain wall of each being 
pierced in each story by a pair of windows 
matching those of the centre and enclosed in 
squared jianels. A plain broad modern dor- 
mer surmounts the centre. {See Fig. 225. ) 

Palazzo Cicogxa (or Pasqualigo), a 
small palace dating from about the end of 
the xiY cent., and interesting from the 
peculiar tracery of its front, but nearly in 
ruins. The fa9ade is in two stories — the 
lower has as a central feature an arcade 
of four round arches on columns, witli a 
balustrade between them. At the left 
of the arcade is a broad square ojjening 
reaching to the angle of the front, where 
the upper wall is sui)ported on a stout 
column with a foliated capital. At the 
right is a sort of wing with two single 
windows. The second story is filled to 
the cornice with an arcade of six pointed 
ojienings of unusual height with cusped 
heads divided by columns and pilasters, 
with trefoils in the spandrels, supporting 
a unique mass of tracery consisting of two 
tiers of quatrcfoils enclosed in interlacing 
circles. In the wing are two single win- 
dows over those of the lower story. 

Palazzo Coxtarini (a San Gervasio e 
Protasio), a Eenaissance palace on the 
Grand Canal built by Scamozzi at the 
end of the xvi century. Its fac^ade. about 
60 ft. long, is in three well-marked stages, 
the first a fine rustic basement Avith broad 
l^iers with simply moulded caps, a simple 
round-arched doorway, and iilain square 
windows. The second and third storie< 
have each an order of coupled jiilasters. 
Ionic and Corinthian respectively, the in- 
tervals occupied by long narrow arched 
windows with balconies. Over the centre 



of the front is a broad dormer with an 
order of pilasters crowned with a pedi- 
ment, and enclosing a triple window. 

Palazzo Coxtaeixi Fasax. The 
small but beautiful fa9ade of this palace, 
which fronts the Grand Canal, is only a 
wing, and has no doorway. It is of brick 
in three stories, with three plain square 
wiiidows below, and over these a group of 
three stilted ogee arches, decorated with 
billet-mouldings and finials and resting 
on marble columns with well-developed 
cajiitals. In the third story similar win- 
dows are enclosed in high square panels, 
but the middle one is replaced by a sculpt- 
ured panel. The long balcony of the 
second story and the single balconies of 
the third are filled with traceried panels. 
Each story has twisted angle-shafts rest- 
ing on decorated string-courses ; the main 
cornice is corbelled with lions' heads. 
Tills front belongs to the first half of the 
XIV century. 

Palazzo Corxer Ca' Grax^de, an im- 
posing Ixenaissance palace on the Grand 




Fig. :: 



rnce. Pal, Corner Ca' Grande. 



503 



VENICE 



Canal, built by Sansovino in 1533. It lias 
a broad fa9ade in three stories, the lowest 
of rustic work with a centre of three tall 
arches flanked on each side by two square 
windows with columns and entablature, 
and two smaller windows over them in a 
mezzanine story. The second and third 
stories have orders of coupled three-quar- 
ter columns, Ionic and Composite, with 
balcony-course and entablature, the in- 
tervals filled with arched windows with 
decorated keys and spandrels. The upper 
frieze is very broad and has a series of flat 
oval windows over the intervals below. 
The interior has been much changed since 
the fire of 1817, and is now used as the 
Prefecture. {See Fig. 226.) 

Palazzo Corker Spikelli. A xv 
cent. Renaissance palace ascribed to Pietro 
Lombardo, with its front on the Grand 
Canal divided into three stages, of which 
the first, forming the rustic basement, is 
the highest, and includes a ground story 
with an arched doorway between two rath- 
er small windows, and a mezzanine with 
two like windows. The windows are 
similar to the doorway, which has classic 
pilasters supjDorting an archivolt with 
decorated mouldings, the whole enclosed 
in a square panel with horizontal cap. 
At the level of the first floor is a broad, 
richly carved base-course. The two upper 
stories, substantially alike, consist each of 
four two-light windows separated by a 
column, under a round bearing-arch with 
a circle in the arch-head. The two mid- 
dle windows in each story are grouped, 
and all are enclosed in square panels, with 
disks in the spandrels and projecting bal- 
conies. The wall-piers are also adorned 
with disks and square panels. The court 
of the palace, of later date than the fa9ade, 
is attributed to Sanmicheli. 

Palazzo Dario, one of the smaller of 
the early Renaissance palaces, interest- 
ing on account of its imitation of Byzan- 
tine decoration. The disposition of the 
front is singular. It is in four stories ; 



the water story has a door between two 
windows, all round-arched with Corinthi- 
an pilasters at the sides, a moulded archi- 
volt and small circular disks in the span- 
drels. Four larger disks of colored marble. 




Fig. 227.— Venice, Pal. Dario. 

enclosed in broad carved marble borders, 
ox-nament the wall-piers, and below them 
is the inscription Urbis Genio Joannis 
Darius. The three upper stories have 
no relation with the lower. The usual 
pergola, or arcaded loggia, instead of be- 
ing in the centre, occupies the left side, 
and is carried through three stories of 
arcades on slender Composite columns, 
with a light iron balcony in the middle 
story. All the stories are separated by 
panelled stylobates, and the whole fa9ade 
of veined marble is decorated in all its 
panels, spandrels, and piers with disks of 
colored marble, which in the large piers 
are grouped in circles, and surrounded by 
interlacing bands ornamented with great 



504 



VENICE 



delicacj^ and beautj'. The palace was 
built about 1450. {See Fig. 227.) 

Palazzo Ducale, or Doges' Palace, 
the most conspicuous and famous exam- 
ple of the Gothic of Venice at its best 
period. The buildings composing the 
palace are of various ages and styles, and 
are built round a quadrangle adjacent to 
the soiith side of the church of St. Mark, 
being bounded on the other sides by the 
Piazzetta, Eiva dei Schiavoni, and the 
small canal called the Rio del Palazzo. 
The exterior is a singularly uniform rec- 
tangular mass unbroken by any salient 
architectural feature. The two principal 
fronts toward the sea and the Piazzetta are 
about 234: ft. and 246 ft. respectively, and 
are alike and consist each of two horizon- 
tal divisions — a continuous open arcade in 
two stories, supporting a perfectly flat 
wall as high as the two stories below, en- 
tirely covered with a diaper of colored 
marbles, pierced with disconnected win- 
dows, and crowned with a row of fantas- 
tic battlements. The lower arcade has 
broad and rather low pointed arches sup- 
ported on massive columns, with large and 
magnificently sculptured cajiitals, whose 
bases are now half a yard below tlie pave- 
ment. The arch -mouldings are simple 
and large, the only ornament being a thin 
line of nail-heads separating the two prin- 
cipal members. Tlie spandrels were orig- 
inally faced with a pattern of colored 
marbles, which has disappeared from all 
but two. The first story is crowned by a 
moulded belt with a frieze of little rosettes 
in square panels. Tlie second story, 
slightly higher than the first, consists like 
it of a continuous open arcade of pointed 
arches on columns ; the arches being two 
to each of those below, the columns much 
slenderer, the pointed arches higher, 
cusped, and of open form, and interlocked 
in a tracery of moulded circles enclosing 
quatrefoils. A balustrade of colonnettes 
runs between the columns. This story, 
like the first, is finished bv a belt with a 



frieze decorated with rosettes. There are 
not even piers at the corners, but in both 
arcades the angle - columns are larger 
than the others, and the angle above is 
charged in each story with sculpture of 
the most admirable character ; the angles 
of the first story bearing groups, and 
those of the second each a single figure of 
an angel. Above this the angle is marked 
by a twisted shaft runing through the 
height of the solid wall and terminating 
in a pinnacle above the cornice. The 
diaper of the third story consists of mar- 
ble slabs of pale red and white, arranged 
in a lozenge pattern uniform over the 
whole surface. It is pierced on each front 
by seven broad and low pointed windows 
nearly corresponding in shape and size to 
the arches of the first story. These win- 
dows have thin columns in the jambs, 
arch Tnouldiugs continuing the shafts, 
and a thin line of billet moulding carried 
round jamb and arch. The central win- 
dow in each front opens ujion a balcony, 
corresponding to the riiigJiicra of the 
town-halls of northern Italy, and is dec- 
orated with gx'eat richness, its jamb-col- 
i;mns larger than in tlie other windows, 
its arcli mouldings more fully developed, 
the spandrels adorned with figures of 
winged angels or with statues of saints. 
Octagonal buttresses with canopies con- 
taining statues flank the window, and are 
continued as high as the cornice of the 
building, ending in heavy pinnacles which 
flank on the one front a clumsy Renais- 
sance gable, on the other a projecting oc- 
tagoiuil niche with three pointed, cusped, 
and gabled niches enclosing sitting statues. 
In each case the composition is crowned 
by a statue high above the cornice. In 
the disposition of the Avindows of both 
fronts there is much irregularity. In the 
Piazzetta front is a pair of smaller point- 
ed windows above those of the third story, 
and a range of small circular openings 
with quatrefoils extends through both 
fronts under the cornice. The cornice is 



505 



VENICE 



a thin, ineffective moulding, and tlie bat- 
tlement is of detaclied marble slabs pierced 
and moulded, alternating with slender 
obelisks. The entrance to the palace is 
through a gateway at the northern ex- 
tremity of the front on the Piazzetta, set 
back some fifteen feet, and immediate- 
ly adjacent to the church of St. Mark. 
This gateway, called the Porta della 
Carta, with the elaborately decorated wall 
above it, is of somewhat later date than 
the fronts. The opening is square, en- 
closed by buttresses of great richness, 
analogous to those that flank the central 
windows. In the second story these en- 
close a large pointed window in three 
lights, the head filled with beautiful and 
elaborate tracery, and surmounted by a 
high gable of somewhat whimsical form, 
charged with sculpture in relief, orna- 
mented with extravagant crockets simi- 
lar to those of St. Mark's church, and 
terminating in an equally extravagant 
finial composed of a large foliated capital 
supporting a sitting figure between two 
lions. So far the exterior architecture of 
the palace is a type of the best Gothic of 
Italy. Its architectural effect , which is 
unique, lies in the splendor of the arcades 
and their audacious contrast with the 
massive wall above. The forms are both 
vigorous and graceful, the mouldings 
strong and effective, the decoration is ex- 
tremely rich, extending in unbroken lines 
across the whole extent of the facades. 
We may object to the heaviness of the up- 
per story as contrasted with the lightness 
of its supports, and agree with Street that 
it was added to the original design in obe- 
dience to a later demand for larger and 
higher apartments for the Council, or 
with Mothes and others, that the wall of 
the third story was originally built over 
the rear wall of the arcades, and was about 
the middle of the xv cent, brought for- 
ward over the columns. The construc- 
tion, as a toil}' de force, is perhaps ques- 
tionable. The arcades look overloaded. 



the voussoirs both above and below, as 
well as portions of the tracery, were much 
dislocated before the recent restorations ; 
five of the lower arches at the easterly end 
of the sea front were filled wp with ma- 
sonry, and the arches of both stories are 
held together by continuous ties of iron 
both lengthwise and across the arcades. 

The fa9ades already described are all 
which remain of the old Gothic palace dat- 
ing from 1301 to 1423. Successive fires 
were followed by extensive rebuildings, 
and in the later of these the native style 
was abandoned for the newer Eenaissance. 
The architecture of the great courtyard 
is very varied in its treatment, marked 
everywhere by great richness, and much 
sculptured ornament, many of the piers 
bearing niches enclosing statues, the 
friezes broad, with reliefs of figures and 
wreaths, and the two lower stories sur- 
rounded for the most part by open ar- 
cades. The arcade of the second story is 
pointed, in imitation of those outside ; 
the rest is pure Renaissance. A broad 
staircase of white marble dating from 
about 1483, and kno'RTi as the Giants' 
Staircase, with richly panelled sides and 
balustrades, leads from the courtyard to 
the second story arcade, and in the centre 
of the courtyard are two beautiful cis- 
terns of bronze of about 1560, octagonal, 
with figures at the angles and surfaces 
very rich in bas-reliefs. The easterly 
side of the palace, on the small canal, is 
also, excej)t a bit of the front corner, of 
Eenaissance design, and is remarkable for 
the variety of its treatment. The base- 
ment is of vigorous rustic work, each stone 
cut into the form of a projecting or de- 
pressed pyramid. Above this the wall is 
in four stages, separated by projecting 
cornices and showing close ranges of win- 
dows in each story, of various form and 
decoration, some square and some arched. 
Six arched doorways with decorated jambs 
give access to the first story of the palace, 
and from the second storv the Ponte dei 



506 



VENICE 



Sospiri, or Bridge of Sighs (y. v.) springs 
across tlie canal to the prisons on its op- 
posite side. Of the interior, the interest 
is confined to the great halls of the third 
story, and these, having been wholly 
clianged as to their architecture in the 
Renaissance period, are now remarkable 
chiefly for the examj)les which they afford 
of the work of the later Venetian painters, 
notably Tintoretto and Paul Veronese. 



divided by the consoles of the cornice into 
square panels, occupied by the j)ortraits 
of the doges from the earliest times. 
Most of the other larger and smaller halls 
are equally magnificent in their pictorial 
decoration. 

The Palace now existing, itself the work 
of various ages, is the successor of the 
older Byzantine palace, built early in the 
IX cent., verv soon after the establish- 




Tlie Hall of the Great Council, an im- 
mense room 175 ft. long, 85 ft. broad, and 
50 ft. high, contains on its east end wall 
tlic Paradise of Tintoretto, occupying tlie 
whole breadtli and hciglit of the wall 
above the wainscoting ; tlie other walls 
and the ceiling, which is divided into 
jiauels of extravagant form with florid 
Renaissance ornamentation, are covered 
with historical and allegorical pictures 
by Tintoretto, Paul Veronese, Palma Gio- 
vaue, and other masters. The frieze is 



ment of the Venetian state, and nearly 
contemporary with the eai'liest church of 
St. Mark. Althougli several times dam- 
aged by fire it does not seem to luive been 
ever wholly destroyed, but was restored 
after each disaster with more or less sub- 
stantial alterations and enlargements, un- 
til in or about 1301 the work of the 
Gothic palace was begun, and carried on 
in one or another portion of the buildings 
until the middle of the xy century. The 
architect whose name has most generally 



VENICE 



been associated with this work was Fil- 
lip]DO Caleiidario^ who suifered death in 
1355 for being concerned in the conspir- 
acy of Marino Faliero. There is, liow- 
ever, the evidence of various contempo- 
rary documents that he was preceded by 
one Pietro Baseggio, to whom the design 
of the arcades of the two princij^al fronts 
is due. The later works of tlie Gothic 
period, including the Porta della Carta, 
appear to have been executed under the 
different members of the Bon or Buon 
family. The Eenaissance architecture of 
the courtyard and the easterly fagade on 
the Eio del Palazzo was by various archi- 
tects, including Antonio Rizzo, Pietro and 
Tullio Lombardo, and Guglielmo Berga- 
masco. {See Figs. 228, 235, 236.) 

Palazzo Dueazzo. See Palazzo dell' 
Amhasciatore. 

Palazzo Foscari, a brick-faced Goth- 
ic palace in the style of the xiv and 
XV cents., with a straight fa9ade divided 




Fig. 229.— Venice, Pal. Foscari. 



into the semblance of a centre and wings, 
as is usual in the Venetian palaces, by the 
grouping of the oj)enings. The lower 
story is plain, with central door and a 
range of windows, ogee-arched. Above 
this all the openings are framed in rec- 
tangular panels in the usual Veneto-Sara- 
cenic fashion. The wings have two single 
windows in each story. In the second and 
third the central division is occupied by 
open loggias, with arches and columns ; 
in the third these arches have the Ducal 
Palace tracery of quatref oiled circles ; the 
fourth, added later, has in the middle a 
group of four lights and intersecting 
tracery, and the whole finishes with a 
corbelled cornice. The balconies of both 
loggias and the carved belt over the upper 
are Eenaissance. The palace was built, it 
is said, near the end of the xiv cent., by 
the Giustiniani, who built also its two 
neighbors on the south ; the fourth story 
was added by the doge Foscari about 1438. 
{See Fig. 229.) 

Palazzi Giustiniani. Two xiv 
cent. Gothic palaces, forming practi- 
cally a single composition and making, 
with the adjoining Foscari palace, one 
of the most conspicuous groups on the 
Grand Canal. The fa9ade is in four 
stories, of which the first has round- 
arched and pointed-arched doorways, 
and several square and narrow win- 
dows. In each the windows are massed, 
after the Venetian fashion, in the mid- 
dle of the front, into two stories of 
traceried arcades, ornamented with 
projecting balconies and surmounted 
by a tracery of quatrefoils, the arches 
being pointed and cusped. Single 
windows are disposed at intervals with 
23ointed and cusped arches enclosed in 
square j)anels. All the windows of 
the second and third stories have pro- 
jecting balconies. Two of the jjiers 
of the third story are decorated with 
square panels and disks of colored 
marble. 



oOS 



VEXICE 



Palazzo Grimaxi (a San Luca), 
formerly Post Office now Court of 
Appeals. A xvi cent. Keuaissance 
palace by Sanmicheli, on the Grand 
Canal, with an admirable fa9ade in 
tliree stories decorated with three 
Corinthian orders, of j^ilasters in the 
first story, and of columns in the 
upper two. Of the five intercolum- 
niations in each story, the two at the 
ends are enclosed by coujjled pilasters 
or columns, thus preserving the con- 
ventional division of the Venetian 
palaces into centre and wings. The 
first story has high entrance arches 
in the three middle intervals, be- 
tween two ranges of square windows. 
These arches give entrance to an ol)- 
liquely rectangular vestibule divided 
into three aisles by coupled Corin- 
thian columns. In the upper stories 
broad round-arched windows alter- 
nate with pairs of smaller square 
windoM's one above another. A bal- 
ustrade crosses the whole front of tlie 
second story. The scale of the faQade is 
very large, and the simplicity and tem- 
perance with which it is treated make it 
one of the best examples in Venice of the 
domestic Renaissance. 

Palazzo Louedajs". an early Byzantine 
palace on the Grand Canal, probably con- 
temporary Avith the Fondaco dei Turclii, 
whicli it reseuibles in its general disposi- 
tion. Its front is about GO ft. long, and 
consisted originally, as in most of tlie By- 
zantine palaces, of two stories, to which in 
recent times a third and an attic have 
been added of incongruous character. The 
front was divided into three portions, a 
central open arcade in each story, the 
arches round and stilted, and resting on 
columns of colored marble with fully de- 
veloped foliated capitals ; the side di- 
visions with two windows in the lower 
story and tliree in the upper, matching 
the arclies of the centre, and in the second 
story forniiug a coiitinuous arcade across 




Fig. 230.— Venice, Pal. Loredan. 

tlie front. The upper arclies had orig- 
inally a light balustrade between the col- 
umns, which has been replaced by a rather 
clumsy balcony front in panels. Above 
the second story arcade the wall was 
decorated with disks of colored marble, 
sot over tlie spandrels ; some of these disks 
still remain ; others have been replaced 
by more elaborate decorations. These 
are additions, presumably of the xiv cen- 
tury. This palace, though much dilapi- 
dated, is pronounced by Mr. Kuskiu the 
most beautiful in the whole extent of the 
Grand Canal. {See Fig. 2S0.) 

Palazzo Maxix, a Eeuaissance palace 
on the Grand Canal, built about 15G0 by 
Sansovino. It has a large front in three 
stories, of which the lowest is an open ar- 
cade of six equal arches Avith Doric pi- 
lasters between, bearing an entablature. 
Above this are two full orders of columns 
and entablatures. Ionic in the second 
storv, Corinthian in the third, the division 



500 



VENICE 



into a centre and two wings rather sug- 
gested tlian carried out by making four 
intervals in tlie width of the two central 
ones below. All the intervals are occu- 
pied by rather narrow round-arched win- 
dows with thin pilasters in place of archi- 
traves. -The second story has a JJ ejecting 
balcony supported on consoles ; the third 
a balustrade with pedestals supporting the 
columns. The frieze of the ujiper order 
is enlarged and decorated Avitli sculjstured 
heads over the columns; the cornice is 
carried on consoles. 

Palazzo Pasqualigo. See Palazzo 
Cicocjna. 

Palazzo Pesaeo. This is perhaps at 
once the richest and most vigorous ex- 
ample of the Eenaissance domestic archi- 
tecture of Venice. Its front consists of a 
high basement of bold rustic work, sur- 
mounted by two fully developed orders. 




Fig. 231.— Venice, Pal. Pesaro. 

Ionic and Corinthian, with arches in the 
intervals. The centre of the basement is 
occupied by two arched doorways and a 
graceful niche between two square win- 



dows an either side. Coupled columns in 
the two upjier stories part off the centre 
and wings. In each of these stories the 
columns are set above a balustrade, that of 
the second story ru.nning in front of the 
columns, that of the third story between 
them. The arches throughout the col- 
umns have boldly projecting sculptured 
keystones and reclining figures in the 
spandrels. The upper frieze is very high 
and decorated with sculptured panels, 
and the cornice is supported by jsi'ojecting 
consoles. The palace was begun in 1679 ; 
Longhena was its architect. {See Fig. 
231.) 

Palazzo Pisani Moeetti, one of the 
latest of the Gothic palaces, built at the 
beginning of the xv century. Its front is 
of three stories with the usiial division 
into centre and wings. The lowest story 
has the unusual feature of two similar 
pointed - arched d o o r - 
ways occupying the cen- 
tre. Above, the central 
division consists of a rich 
arcade of six arches in 
each story, the tracery 
of the second story like 
that of the Ducal Palace ; 
that of the third story 
Avith interlacing arches 
of rather clumsy form 
with quatrefoils above 
them. The central ar- 
cade has a projecting Re- 
naissance balcony in the 
second story, and in the 
third a balustrade be- 
tween the columns. The 
side divisions have each 
two single Avindows in 
the second and third 
stories, with ogee heads 
enclosed in high square 
panels and with projecting balconies. 

Palazzo Eezzonico, a Renaissance 
palace on the Grand Canal, built _ about 
1680, by Longhena, Avitli a third story 



VENICE 



added after his death by Massari. The 
lower story has an order of rustic engaged 
Doric columns and pilasters, three open- 
ings in the centre giving access to an 
entrance vestibule, with two square win- 
dows on each side. The second and 
third stories consist each of an order of 
engaged columns, Ionic and Corinthian, 
with round-arched windows in the in- 
tervals, the spandrels decorated with 
sculpture, and balustrades between the 
cohimns. The frieze of the upjaer en- 
tablature is broadened to admit a series 
of elliptical windows with consoles be- 
tween. {See Fig. 232.) 

Palazzo Sagreoo, a xiv cent. Goth- 
ic palace with an interesting and curi- 
ously irregular fagade on tlie Grand 
Canal, adjoining the Ca' d'Oro. It is 
in three stories, to whicli a fourth has 
been added, of insignificant character. 
The lowest story, raised by a single step 
above the water of the canal, has sim- 
ple round-arched doorways, and jilain 
stpiare windows. The usual loggia, in 
tlie principal story, the tliird, con- 
sists here of four cusped and point- 
ed arches, surmounted by a ti-accry of 
quatrofoils and inclosed in a square pan- 
el, and ihvnked l)y two single windows 
of like design, all with corbelled balco- 
nies. Below is a group of six simple 
pointed arched windows, again flanked by 
two others. The windows, as well as the 
arcade in the third story, have each a pro- 
jecting balcony of the usual Gothic type. 
The front is l)uilt of rude brickwoi-k cov- 
ered with })laster, now mucli decayed. 

Palazzo Sanudo, now \'anaxel, a 
Gothic 2-)alace of the first half of the xiv 
cent., and substantially unchanged both 
in its main features and its details. It is 
of three stories, the first a plain basement 
with square windows and a pointed door- 
way. The ogee-headed windows in the 
second and third stories are centred in a 
group of five in each story, divided by 
shafts and with projecting balconies, and 



the front is crowned by a thin projecting 
cornice supported on brackets. The ar- 
chitecture of the front is continued for a 




Fig. 232. — Venice, Pal. Rezzonico. 

sliort distance on tlie left side. M'here an 
intiMTsting pointed doorway still closed by 
the origiiuil richly carved doors, gives ac- 
cess to a spacious entrance liall extending 
across the whole front of the palace, and 
opening by pointed arches on a courtyard 
wliich contains a fine staircase of white 
marble of even date with the building, and 
with much admirable detail. The court- 
yard contains also a fine stone well-curl:) 
richly sculptured. 

Palazzo Trevisan (alia Canonica), a 
XV cent, transitional palace, with a fapade 
about 80 ft. long, in four stages, each with 
four Ionic pilasters with entablature, di- 
viding the front into a centre and two 
wings. The lower story has a central 
round -arched doorway, flanked by two 
square Mandows on each side, and in each 
wing a doorway and one Avindow. The 
upper stories have each a central arcade 



611 



VENICE 



of six arches, and m each wing two single 
windows with a circular window high ujd 
m the pier between them. The windows 
of the second and third stories have grace- 
ful balconies, and the wall surfaces of the 
wings are decorated with a Byzantine in- 
lay of colored marble disks, and panels of 
great delicacy and beauty. The 
palace became, in 1577, the prop- 
erty of Bianca Capello, whose 
name it also bears. 

Palazzo Tkevisano (a Sta. 
Maria Formosa), a Kenaissance 
palace built in 1525-35, by Sante 
Lombardo, with a fa9ade of about 
70 ft. in three stories. The cen- 
tre is marked in the first story by 
two round-arched doorways, with 
a square doorway between, open- 
ing on a narrow bridge which 
crosses the small canal on whicli 
the palace fronts. The two up^jer 
stories have each a central arcade 
of four round arches on Com- 
posite columns, flanked by two 
corresponding Avindows 0:1 each side. The 
angles are marked in eacli story by broad 
flat panelled Composite pilasters, carrying 
entablatures which are continued across 
the front, and the upj^er one of which 
makes the cornice of the building. The 
broad piers between the side windoAVS and 
the friezes are ornamented Avitli panels and 
disks of various colored marbles. 

Palazzo VENDRAMiiSrCALERGi, one of 
the largest and finest of the Renaissance 
palaces of the Grand Canal. Its front is 
about 80 ft. long and 65 ft. high, in three 
stories, each ornamented Avith a Compos- 
ite order of columns or pilasters, dis- 
posed according to the usual arrangement 
of the earlier G-othic palaces, the three 
central bays being separated from the two 
lateral ones by a narrow interval of wall. 
The order is in the first story one of pan- 
elled pilasters ; above, of engaged col- 
umns, fluted in the second story, plain 
in the third. The second story is crossed 



by balconies of which the detail has still 
much of the feeling of the earlier Gothic 
work. Except the two lateral AvindoAvs of 
the first story, Avhich are square, all the 
Avindows are substantially alike, consisting 
of two sub-arches carried on a column 
under an enclosing arch Avith a circle 



^a^^ia 




Fig. 233.— Venice, Pal. Vendramin. 

betAveen. The crowning entablature is 
enormously disproportioned to the col- 
umns. The front is, for the most part, of 
gray Istrian stone, Avith the columns and 
portions of the wall of Avhite marble, and 
the medallions and other ornaments of 
porphyry, serpentine, and other costly 
stones. The building, by Pietro Lombar- 
do, dates from 1481. {See Fig. 233.) 

The Peisoxs (I Carceri), a Renaissance 
building erected in 1589 by Antonio da 
Ponte, Avith a front toAvard the sea and 
another on the small canal Avhich sepa- 
rates it from the Ducal Palace, Avith 
Avhich it is connected by the Bridge of 
Sighs {q. v.). The sea-front is in tAvo 
stories, the loAver of rustic arches sur- 
mounted by a strong belt-course on Avhich 
stands the quasi-Doric order of the sec- 
ond story, the three - quarter columns 
backed by flat engaged pilasters, and the 
intervals filled Avith rustic walling pierced 
by square Avindows Avith a decoration of 



512 



.sr?^^ 



l^ENICE-S. MARCO, CENTRAL PORTAL 



mi 



aii^i^a 










VENICE 



simple flat entablatures and pediments, 
the latter alternately triangular and seg- 
mental. The side on the canal is of quite 
different architecture, a strong rustic wall 
pierced with three stories of small square 
windows without ornament. 

The Procuratie are two long ranges of 
buildings occupying nearly the whole of 
the north and south sides of the Piazza San 
Marco. The Procuratie Vecchie, on the 
nortli, was built in 1517 for the residence 
of the Procurators of St. Mark, a body of 
officers uniting many of the most impor- 
tant administrative, municipal, charitable, 
and ecclesiastical functions. The fagade 
has three stories of arcades on columns, of 
wliich tlie lowest is open, with broad round 
arches, fifty in number, the others glazed, 
with two arches to each of those below. 
Above the arcades is a lower fourtli story 
with round Avindows, and the front is ter- 
minated by a thin cornice with a battle- 
ment similar in character to that of the 
Ducal Palace. It is not clear to whom 
the design of this building should be as- 
cribed. {See Fig. 235.) 

The Procuratie Nuove, on the south 
side, was erected in loS-l to furnish resi- 
dences and offices for tlie increased num- 
ber of Procurators. The architecture of 
the Library {q. v.), which has a front of 
some 50 ft. on the Piazza, is continued in 
these buildings, but Scamozzi, to whom 
the work was entrusted, cut down the in- 
ordinate height of the second story frieze, 
and added a third story consisting of a 
Corintliian order with balustrade, the in- 
tervals tilled with square windows deco- 
rated with columns supporting entablature 
and pediment, the latter alternately tri- 
angular and segmental, and each bearing 
two reclining figures. Tliese buildings 
Avere, during the occupation of Venice by 
Napoleon, converted into a royal palace 
for the occupation of the ^"iceroy. 

II Kedextore, one of the most familiar 
of the Kenaissance churches of Venice, 
was built by Palladio in 15TG, as an offer- 



ing of gratitude for the deliverance of the 
city from the plague of the previous year, 
by which forty thousand people are said 
to have perished. Its fa9ade is masked by 
a tetrastyle Corinthian portico with pedi- 
ment covering the nave. Between the 
columns is a great arched central door 
decorated Avith a smaller Corinthian order 
and pediment, and side niches Avitli stat- 
ues. The Avhole is raised on a high base- 
ment and approached by a broad flight of 
marble steps Avith balustrade. The small- 
er order, Avith pilasters, covers the ends of 
the aisles, and is continued round the 
sides of the church. The interior shoAvs 
a broad nave in tliree divisions, Avith a 
barrel-A'ault springing from an unbroken 
entablature over coupled Corinthian col- 
umns on tlie faces of the piers, aiid two 
stories of niches betAveen them, the pier- 
arches springing from loAver engaged pilas- 
ters. The narroAv aisles are divided into 
long chapels Avith niches at either end. 
The nave leads to a central square sur- 
mounted by a dome, and surrounded by 
three apses in place of the usual Avell- 
marked choir and transept. 

The EiALTO. This famous bridge is 
the successor of many earlier ones, the first, 
a bridge of boats, later ones of Avood, of 
which the last Avas built iii 1523. This 
having in its turn been destroyed, it Avas 
determined that a stone bridge should be 
built, and designs were received from 
Michael Angelo, Sansovino, Vignola, and 
Scamozzi. The Avork Avas finally given to 
Antonio da Ponte, under Avhom the bridge 
was begun in 1588 and finislied in 1591. 
It is imagined to rest on tAvelve thousand 
piles, and is a single segmental arch of 
nearly 90 ft. span, Avitli footways sloping 
upAvard from each bank of the canal to 
the centre, Avhere is a small level interA^al. 
The Avhole breadth is about 70 ft., of 
Avhich about 30 ft. in the middle is given 
to a central passagcAvay flanked on either 
side by a roAv of shops, outside of which 
is an outer footAA'ay about 10 ft. wide, jiro- 



513 



VENICE 



tected by a balustrade. Above this is an 
open arcade following the slope of the 
bridge^ of six arches on each side with 
rustic piers and voussoirs ; the central 
arch being larger and enclosed by flat pi- 
lasters with a broken pediment. The 
structure is of white marble, and a double 
flight of steps gives access to it at either 
end. 

S. Francesco della Vigna, a Eenais- 
sance church built from the designs of 
Sansovino in 1533. Its plan is a rectangle 
about 100 ft. wide and 180 ft. long, from 
the east end of which the choir projects 
some 70 ft. The division of the plan is 
curious ; the nave, about 52 ft. wide, is 
flanked by five square chapels on each 
side, opening through round arches in the 
intervals of an order of pilasters, above 
which the clerestory wall is similarly divid- 
ed, each bay having a single plain round- 
arched window. The clerestory ends in a 
cornice with consoles, above which is a 
coved ceiling. The nave is continuous, 
and the arms of the transept open from it 
like larger chapels. The long choir, cor- 
responding to the transept, is divided into 
two equal portions with the raised altar 
between them, and is flanked on each side 
by two chapels and a narrow passage run- 
ning its whole length. 
The choir and the chapels 
of the nave are raised 
above the nave floor by 
three steps following the 
entire outline of the nave 
and transept. The fa9ade 
is by Palladio, and consists 
of a centre and wings fol- 
lowing the outline of the 
nave and aisles, the centre 
faced with a great Corin- 
thian portico of four col- 
umns Avith pediment, the sides having each 
a half pediment with a smaller order, of 
which the entablature is at the level of 
the aisle cornice, and stops against the col- 
umns of the central portico. A single 



lofty door and a lunette above it are the 
only openings. 

S. Giorgio Maggiore. A Eenaissance 
church, part of an old convent on a little 
island opposite the Piazzetta, built in 1565 
from the designs of Palladio, on the site of 
a former church which dated from the x 
century. Its fa9ade, following the outline 
of the nave and aisles, is crossed by an 
order of Corinthian pilasters as high as the 
aisles. A lofty engaged j)ortico in front 
of the nave is raised on tall pedestals to 
cover the height of the clerestory, and 
crowned with a pediment. The flrst order 
aj)pears through its intercolumniations, 
which are filled with niches and statues ; 
and in the middle is a high, round-arched 
door. The corners and the ridge are 
marked by acroteria bearing statues. The 
interior is cruciform, with nave and tran- 
se'pt covered by elliptical barrel -vaults, and 
the crossing by a hemispherical dome. 
The aisles are groined, and separated from 
the nave by square piers surrounded by en- 
gaged columns and pilasters on pedestals, 
and connected by broad round arches with 
an entablature above. The transept ends 
are semicircular, the choir is shut-off by a 
two-story screen, with the raised organ be- 
hind it and the altar beneath. The choir- 




Fig. 234. — Venice, S, Giorgio Maggiore. 

stalls, which are of unusual richness and 
elegance, were executed at the end of the 
XVI cent, by Albert de Brulle, a Fleming, 
and a number of Venetian artists. A fine 
brick campanile rises from the N. E. 



514 



VENICE 



corner of the church, plain, with a stone 
belfry having a great square opening on 
each face, divided by two columns with 
entablature and balustrade, and a circular 
lantern above, with sharp conical sj^ire. 
The choir is a single rectangular groined 
bay, flanked by two smaller octagonal 
steeples with bulbous spires. From this 
opens, by an arch springing from coupled 
columns, a retro-choir or chapel of the 
full width of the choir and twice as long, 
ending in a semicircle. Attached to the 
church is a cloister built in 1579 from 
Palladio's designs, with round arches on 
coupled Ionic columns, and a refectory a 
few years earlier than the church, contain- 
ing a vestibule some 30 ft. square, with a 
fine staircase leading to the great hall 
above, 30 ft. wide, nearly 100 ft. long, and 
50 ft. high, and considered among the 
finest of Palladio's works. {See Fig. 23 Jf.) 

S. Giovanni Chisostomo, a Kenais- 
sance church begun in 1-483 by Moro Lom- 
bardo, the exterior not remarkable. It is 
a type of a considerable group of churches 
witli the Byzantine plan of a Greek cross 
enclosed in a square, and a central dome 
carried on four square i^iers. The pro- 
portions here are slender, the square piers 
are small, carrying an entablature over 
the arches which spring from them. The 
nave terminates in an apsidal choir, and 
the aisles in semicirciilar apses. It con- 
tains some good reliefs by Tullio Lom- 
bardo, representing the coronation of tlie 
Virgin, and the twelve apostles. 

SS. Giovanni e Paolo, one of the 
most important of the Gothic churches of 
Venice. It is cruciform in plan, with a 
total length of about 325 ft., and a breadth 
across the transept of 150 ft. It has a 
nave and two aisles, transept, choir, and 
eastern apse, built with brick throughout 
and of somewhat rude execution. Its ex- 
terior is not noteworthy. The front is in 
three divisions corresponding to the nave 
and aisles, and separated by square but- 
tresses ending in tabernacles crowned with 



spires. An arcade of pointed arches 
stretches across the whole lower portion, 
the middle arch containing the great door- 
way of the nave. Over this is a central 
arcade of seven openings. These two 
stories of arcades doubtless answer to the 
openings of a portico or narthex which 
originally stood before the front with a 
gallery above it. Above the portico was a 
large traceried rose-window, but the tra- 
cery has disappeared. The sides present 
high aisle walls divided by square but- 
tresses into bays corresponding with those 
of the interior, each bay having a triple 
pointed window. The clerestory, divided 
like the aisle wall by square buttresses, 
and subdivided by pilaster strijis, has sin- 
gle pointed wiiulows. The high transept 
is plain and bare, and the east end, as in 
the church of the Frari, is the most at- 
tractive portion of the exterior. The 
great apse of the choir is seven-sided and 
is divided into two stories by a strong 
brick cornice, and a balustrade above it. 
Its tall windows are divided by tracery, 
set back from tlie wall surface, the Jambs 
being deeply splayed. The interior has a 
nave and aisles of five bays, those of the 
nave square, those of the aisles oblong, 
and all covered with simple four-part 
vaulting of brick. The nave, 40 ft. Mide, 
reaches the unusual height of 128 ft. The 
nave-piers are round and massive, with 
large leafed capitals from whicli engaged 
shafts rise through the clerestory to take 
the vaulting-ribs. The clerestory is very 
high, with a single jiointed window in 
each bay. The square-ended transept has 
one bay to each arm, vaulted like those 
of the nave, and the crossing is covered by 
a light hemispherical dome, somewhat 
resembling those of S. Antonio at Padua. 
Two apsidal chapels open from the eastern 
side of each arm. The choir is very long, 
and in general disposition similar to that of 
the Frari. The church was begun after 
1234, but its building was often inter- 
rupted, and it was only consecrated in 



515 



VENICE 



1430. It contains many remarkable monu- 
ments, among others those of the doges 
Morosiui, Mocenigo, A^endramin, and Cor- 
naro, and two pictures by Tintoretto 
which are reckoned among his best works. 
There are several lateral chapels, notably 
tlie Chapel of the Rosary in the north 
aisle, in which Titian's famous picture of 
St. Peter Martyr was burned a few years 
ago. 

S. Marco (St. Mark's), one of the most 
important and interesting of European 
churches, and the most characteristic and 
splendid example of the Byzantine archi- 
tecture and decoration transplanted to 
the Avest. Its plan is nearly a Greek cross, 
with nave and choir of about 40 ft. broad, 
the transept arms about 8 ft. less, and all 
flanked by aisles of half their width. The 
interior length is not far from 230 ft., the 
breadth across the transept, 195 ft. The 
nave and choir, the arms of the transept, 
and the square of the crossing, are each 
covered by a hemispherical dome of ma- 
sonry, above which is a high-shouldered 
dome of wood. A close ring of windows 
surrounds the bases of the domes, which 
are of unequal size ; those of the crossing 
and the nave being each about 42 ft. in 
diameter, the others about 30 ft. The 
interior is rather low ; the nave is less 
than 70 ft. high, and the highest domes 
only 92 ft. The square bays covered by 
the domes are separated from each other 
by narrow rectangular bays covered by 
barrel-vaults. The aisles, both of nave and 
transej^t, ai'e covered by transverse barrel- 
vaults as high as those of the nave, and are 
separated from the nave and transept 
by screens of alabaster columns, bearing 
round arches much stilted and slightly 
horseshoe in form, over which is a narrow 
passage or gallery protected by a horizon- 
cal fence or balustrade, divided into pan- 
els with Byzantine carving. The central 
dome rests on four great arches springing 
from piers about 25 ft. square, through 
which are carried in two directions the 



aisles of the nave, transept, and choir. 
The choir and its aisles each terminate in 
a round apse, of which the outline is varied 
by semicircular niches in the thickness of 
the wall. The floor of the choir is slightly 
raised above that of the nave, and sepa- 
rated from it by a screen of eight columns, 
raised on a high stylobate, beneath which 
may be seen a portion of the older By- 
zantine screen, and bearing a horizontal 
entablature crowned with fourteen statues 
of apostles and saints. Similar screens, 
each of four columns, placed a little to 
the eastward, close the choir aisles from 
the transept, and still another crosses the 
choir in a line with the front of the high 
altar. At each end of the choir screen is an 
ambo of marble, supported on columns, 
that at the north end being two stages in 
height, approached by a staircase from the 
choir aisle, and crowned by a hemispheri- 
cal dome. The high altar stands under a 
baldacchino or canopy consisting of four 
columns of alabaster, covered with rings 
of small arches on colonnettes, each en- 
closing a figure in relief, and carrying- 
simple round arches with a horizontal cor- 
nice finishing the wall above. Behind 
the altar is a remarkable reredos called the 
Pala d'Oro, an interesting and sumptuous 
example of early metal and enamel woi'k, 
reputed to have been made in Constanti- 
nople for this church and brought to Ven- 
ice early in the xii century. But the 
historical evidences of its origin are con- 
tradictory, and it is evidently a composite 
work, of various epochs and styles. The 
material is silver gilt, with pictures and 
inscriptions in enamel, the subject being 
treated with the naivete characteristic of 
the art of the early middle ages, and ar- 
ranged in eighty-three panels, of which 
the greater part are narrow upright com- 
partments enclosing a single figure of a 
saint, the larger ones bearing groups. The 
surfaces are farther enriclied with gems of 
brilliant colors. The apse is lighted by 
three simple round-headed windows above 



516 



VENICE 



the niches, and this is the form of neai'ly 
all the windows, the exceptions being the 
great semicircular window in the facade, 
and a large rose-window in the south trans- 
ept, with thin Gothic tracery, quite out of 
keeping with every thing else in the church. 
Beneath the choir and its aisle is a crypt 
cruciform in plan, divided by some sixty 
columns of Greek marble into small vaulted 
bays, and with a small altar, which for- 
merly enclosed the body of the saint, just 



the vestibule is occupied by the Chapel of 
Cardinal Zeno and by the Baptistery, the 
latter containing in the centre a large 
basin of porphyry, with a remarkable 
bronze cover surmounted by the statue of 
John the Baptist, and on the south Avail 
the tomb of the doge Andrea Dandolo. 
Opening from the eastern end of the north 
choir aisle is the sacristy, a noble room 
some 25 ft. by 60 ft., with a coved ceiling 
covered with admirable mosaics, mostly of 




1, St, Mark's. 

2, Ducal Palace. 



3, Campanile. 

4, Library. 



Fig. 235.— Venice, Piazza S. Marco. 
A, Piazza. B, Piazzetta. 

5, Zecca. 7, Fabbriche Nuove. 

6, Procuratie Nuove. 8, Procuratie Vecchie. 



9, Clock Tower. 
10, Prisons. 



under the high altar of the choir. The 
western arm of the cross is surrounded on 
the front and sides by a closed vestibule or 
narthex of somewhat later date than the 
church, of which, on the exterior, it forms 
the most conspicuous and familiar portion, 
and witli the interior of which it com- 
municates by four doorways opening into 
the nave, aisles, and transept. It is di- 
vided by pointed arches into square bays, 
each covered by a low dome, and is deco- 
rated profusely Avith mosaics of the same 
character and magnificence with those of 
the churcli {scr hcJow). Tlic south side of 



the XVI cent., and walls decorated with 
Renaissance pilasters of dark Avalnut deli- 
cately carved, and panels of wood-inlay 
with pictorial subjects. The sacristy 
opens also from the apse of the choir by a 
doorway closed by a remarkable bronze 
door, one of the most celebrated works of 
Sansovino. The chapel at the north end 
of the transept contains some extremely 
beautiful and characteristic detail ; a fine 
tomb in an arched recess, with sculptured 
spandrels and the walls and vaults covered 
Avitli admirable mosaics. Of the interior 
of this church it may be said that there is 



VENICE 

nothing either in its dimensions or general surronncled by a broad joint of white 
design to entitle it ,to the pre-eminence plaster, but the pictoiial subjects are 
which it holds am6ng the churches of treated with simplicity and grandeur, the 




Fig. 236. — Venice, S. Marco and Ducal Palace. 



Europe, and which is due almost wholly 
to the splendor and variety of its decora- 
tions. Among these the most important 
place belongs to the mosaics. The walls 
are faced to the height of the nave ar- 
cades with slabs of a pale marble to which 
age has imparted a mellow tone. Above 
this both walls and vaults throughout the 
church are covered with gold mosaics of 
the most magnificent character, of which 
the greater portion belong to the end of 
the xii cent., or beginning of the xiii, 
Avhile a few date back to the period just 
following the completion of the church in 
1071, and some are as late as the xvi cen- 
tury. The earlier are by far the most 
interesting and admirable, as adapted to 
the purpose of surface decoration. Their 
setting is irregular, and the tesserae are 



colors are at once rich and harmonious, 
and the effect of the whole interior thus 
decorated is one of great solemnity. The 
mosaic pavement is not the least note- 
worthy feature of this interior. It is of 
the sort known as ojnis Alexandrimun, of 
a surprising variety of designs and colors. 
The exterior appears to have been original- 
ly simple, and even rude ; its character, 
though no exact information exists in re- 
gard to it, may be inferred from that of 
the transept ends as they now appear. 
Broad surfaces of plain wall are decorated 
in the lower part with marble, disposed 
mostly in panels of various colors and 
shapes, and with many bas-reliefs, mainly 
of Byzantine character ; the upper portions 
are of rude brickwork plastered and bare 
of ornament, with small, narrow windows. 



51 s 



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and terminating in low curved gables. 
The front had doubtless a porch or nar- 
thex covering the breadth of the nave and 
aisles, with a gallery over it. This was 
rebuilt in whole or in part, in the xi or 
XII cent., and extended in the xiv cent, 
on the north and south sides as far as the 
transept. The architecture of this por- 
tion of the chiirch is quite" unexampled. 
The fa9ade presents an arcade of five 
broad and lofty round arches, covering 
recesses of great depth, of which the cen- 
tral and two end ones are nearly semi- 
circular in plan, and the intermediate ones 
square, but all ornamented with a multi- 
tudinous array of columns in two stages 
covering the jambs and the faces of the 
piers. The shafts are of various kinds of 
marble, porphyry, alabaster, vcrd-antique, 
and of various sizes and shapes, round and 
polygonal, smooth and fluted, most or all 
of them brought from the East iji obedi- 
ence to the command of the Senate, many 
of them bearing Armenian or Syrian in- 
scriptions. The capitals are all of white 
marble, but of an inexhaustible variety of 
designs. The central arch is much larger 
than the others, being about 2b ft. broad, 
while the side arches are about IG ft., and 
is surrounded by a broad archivolt of ex- 
tremely rich and beautiful carving, cutting 
up through the long balustrade M'hich 
surmounts the arcade. All the arches en- 
close square doorways with stilted arched 
heads, over wliich, and filling the head of 
tlie arch above, are mosaic pictures, the 
subjects mostly connected with the legend 
of the transportation of tlie body of St. 
iMark. Tlie great arcade is lengthened by 
the addition of a small portico or pavilion 
at each oiul, with a narrow open arch as 
high as the others. The arcade occupies, 
perhaps, two-tliirds the Avhole height of 
the facade. Above it — the long balustrade 
forming a strong horizontal demarcation 
between the two parts of the front — is a 
series of five rouiul arches answering to 
those below, but treated, so far as the 



arches themselves are concerned, with 
much greater simplicity. The central 
arch, much broader and higher than the 
rest, is entirely filled with a great window 
30 ft. wide, through which a flood of light 
is admitted through the nave, and in front 
of which stand the four colossal bronze 
horses brought from the Hippodrome at 
Constantinople in 1204, of whose earlier 
history many questionable stories are told. 
Tlie four lesser arches enclose each a small 
plain round-headed window, the arch head 
being filled with mosaic. All the arches 
are surrounded by carved archivolts, that 
of the central arch the largest and richest, 
and all are surmounted by ogee gables 
decorated with wild and extravagant 
crockets, and terminated by statues. In 
the central gable is the winged lion of St. 
Mark on a field of l)lne mosaic. Between 
the arclies are tall pinnacles with arched 




Fig. 237. — Venice, S. Marco. 



canopies enclosing statues and finished 
with spires. Behind these rise the great 
domes of various sizes and heights, covered 
with metal and crowned with bulbous 
cupolas. The efi'ect of the whole is one 



519 



VENICE 



of indescribable strangeness^ as far re- 
moved from the soaring majesty of the 
northern cathedrals as from the noble 
simplicity and repose of the G-reek temples, 




Fig 238— Venice, S. Marco. 

yet from neither of these does one receive 
a more profound and lasting impression. 
The building is both without and within 
a vast storehouse of Byzantine art in form 
and color ; the mosaics are more extensive 
and magnificent than in any other existing 
monument, unless it be Sta. Sofia at Con- 
stantinople, and in no other can the best 
qualities of Byzantine sculpture be more 
profitably studied. The greater part of 
the capitals follow the Corinthian model, 
but in portions of the building, notably 
the vestibule, the baptistery, and a beau- 
tiful octagonal baldacchino covering a 
small altar in the nave, a great number of 
characteristic and admirable examples of 
Byzantine capitals are to be found. The 



earliest church on this site dated from 
830, and was dedicated to St. Theodore. 
It was to this church that the body of St. 
Mark was brought, after having been se- 
cretly brought away from Alex- 
andria ; it was burned in 976, 
and at once rebuilt. The new 
church appears, however, to 
have been still again rebuilt, 
having been finally finished as 
late as 1071 under the doge 
Domenico Selvo, and conse- 
crated in 1094 on the miracu- 
lous recovery of the body of 
the saint. The mosaics were 
for the most part added during 
the two following centuries. 
The architect is unknown, and 
much controversy has been 
maintained on the question 
whether he was a native Vene- 
tian or an imported Greek. The 
church was originally the offi- 
cial chapel of the doges and at- 
tached to the palace ; it became 
the cathedral only as late as 
1807. {See Figs. 235-238.) 

Sta. Maria del Carmine, 
a cruciform church, formei'ly 
attached to a Carmelite monas- 
tery, has the characteristics of 
old basilica modernized in the xvii 
cent. ; but is reputed to have been built 
in the xiv. It is cruciform, and has a 
nave with arcades of twelve arches carried 
on old columns, now painted, whose lower 
parts are encased in modern octagonal 
pedestals. Above the columns the interior 
is all transformed ; statues are bracketed 
out, one from each sjiandrel, under a rococo 
entablature ; the nave has an elliptical 
groined vault, with large semicircular win- 
dows in lunettes ; the ujiper walls, shoAV- 
ing no clerestory, are all occupied by great 
square paintings, one in each bay. The 
aisles are flat-ceiled. The transept arms 
are walled off from the choir, which has 
perhaps been extended southward (the 



an 



520 



VENICE 



church fronts north), and ends in a groined 
polygonal apse. The front, remodelled 
like the interior, is jolain and iinimijortant. 
The church is said to have been built on 
the site of an earlier one — perhaps only 
enlarged or restored — in the middle of the 
XIV century. 

Sta. Maria dei Gesuiti, the Jesuits' 
church, is in plan substantially a repetition 
of Vignola's church of the Jesuits in Rome. 
It is cruciform, with barrel-vaulted nave 
and choir bordered by chapels, short tran- 
sept arms, a domed crossing, and a square 
east end. The interior, lined with a sin- 
gle order of coupled Corinthian pilasters, 
is decorated with an amazingly sumptuous 
inlay of colored marbles, chiefly green and 
white, in a damask pattern which covers 
even the shafts of the columns. The 
vaults are rich with stuccoed ornament 
and gilding, and an elaborate rococo bal- 
daccliino covers the high altar, the work 
of Giuseppe Pozzo. The facade is adorned 
with a huge order of smooth Corinthian 
columns, and a row of statues 
on the rake of the great pedi- 
ment breaks the sky-line. The 
ciiurch was built in the first 
quarter of the xviii cent., the 
fa9ade by Giovanni Battista 
Fattoretto, the interior by Do- 
menico Rossi. {See Fig. 239.) 

8tA. MaKIA GlORIOSA DEI 

Fraiu, tlie church of the 
Frari, is after St. Mark's per- 
haps the most noted church in 
A'enice. Its exterior is for the 
most part bare and uninterest- 
ing. It has a poor fagade 
divided into tliree compart- 
ments, each with a round win- 
dow, by pilasters or buttresses 
terminating in pinnacles with 
canopies, the central division having a 
pointed arched doorway and gable with a 
similar pinuaele at the apex. The opening 
is flanked by two large buttresses in the 
form of octagonal turrets, divided into six 



stories of panels and bearing each a statue. 
The interesting portion of the east end 
is tlie apse of the choir. It is polygonal 
in plan, with an angle instead of a face in 
the central axis. It has two high stories 
of single pointed windows, subdivided by 
geometrical tracery. The jambs are all of 
brick, the arch-heads of stone, and a dec- 
orated brick archivolt encloses the stone 
arch ; a corbelled string-course separates 
the stories ; the ujiper cornice is small and 
simple. The polygonal wall of the apse, 
not continuous with the square bay of 
the choir, abuts against a simulated east 
wall, consisting of two heavy buttresses, 
bridged by a gable, which stop the ar- 
caded cornice of the rest of the cluirch. 
On each side of the apse the exterior zig- 
zag wall of the lateral chapels of the tran- 
sept presents a series of faces -which are 
treated like those of the lower story of the 
apse. In the angle betM'cen the north 
aisle and transept is a square campanile, 
with two stories of blind arches, and a 



'5!^*^'^'^ 




Fig. 239. — Venice, Sta. Maria dei Gesuiti. 

belfry stage with tliree round arches in 
each face, Avith a heavy cornice and an oc- 
tagonal stage above. The whole church 
is about ii'A) ft. long by 160 ft. across the 
transept. The interior of brick has a nave 



521 



VENICE 



and aisles of six bays, oblong in the nave 
and square in the aisles, with pointed 
arches springing from high round piers 




Fig. 240.— Venice, Church of the Frari, Apse. 

with I'atlier low foliated capitals, a low 
clerestory with ugly lunettes in place of 
what were probably small rose-windows. 
The aisles are nearly as high as the nave, 
with a simple long and narrow pointed 
window in each bay. Clustered vaulting 
shafts rise from the capitals of the piers 
on the nave side to the spring of the 
simple four-part brick vaults. The aisle 
vaults spring from pilasters corbelled out 
from the walls at mid-height. Each arm 
of the transept is divided into two oblong 
bays vaulted like those of the nave. From 
the eastern wall of each arm open three 
vaulted chapels, terminating in polygonal 
apses with an angle in the middle. The 



choir has a single square bay covered by 
a groined vault, and the polygonal apse 
already described. This apse is imposing 
from its great height and its two stories of 
traceried windows, containing some frag- 
ments of very rich glass. A portion of 
the nave west of the transept is enclosed 
and occupied by some richly decorated 
Renaissance stalls. The screen separating 
them from the nave is an elaborate com- 
position of pilasters and arches, the latter 
filled with bas-reliefs arranged in panels. 
A fine and large sacristy opens from the 
south end of the transept, and the whole 
of the north aisle is bounded by a cloister 
of no great interest. The church was 
begun in 1250 and finished in 1280. 
Niccolo Pisano has been called its archi- 
tect, but apparently without reason. 
The campanile is a century later. The 
church contains some of the most inter- 
esting monuments in Venice. {See Fig. 
2J,0.) 

Sta. Maria Maddalena, a circular 
Renaissance church of the xviil cent., 
built from the designs of Tomniaso Te- 
manza. Its interior diameter is about 52 
ft., it has an order of six ]Dairs of Ionic 
columns with rectangular niches in the 
intervals under round arches. The un- 
broken hemispherical dome has no drum, 
and is crowned with a circular lantern. 
In one of the intervals of the order is a 
great entrance doorway ; in the opposite 
interval the open ai'ch leads to a small 
square choir covered by a low dome, with 
a semicircular apse on each side. The 
exterior has an order of flat pilasters with 
blind arches between, under an attic which 
carries the flat-looking dome. At the en- 
trance is an Ionic portico with two couples 
of columns and a pediment. 

Sta. Maria dei Miracoli, called also 
Madonna dei Miracoli, a small early Re- 
naissance church, with a singular fa9ade 
of great richness, probably by Pietro Lom- 
bardo. It is in two stages, with a great 
semicircular gable covering the entire 



532 



VENICE 



front, and a central door. Each stor}- is 
divided into five bays by engaged pilasters, 
Corintliian below, Ionic above, the former 
carrying an entablature broken over the 
pilasters, the latter carrying round arches. 
Two of the upper bays contain tall round- 
headed windows. In the other bays, both 
above and below, the wall is faced with 
slabs of white marble in which are inlaid 
patterns of red, yellow, black, and green 
marbles. The great gable has a group of 
round windows. The decoration is con- 
tinued, but with less richness, on the sides. 
The interior is a single oblong hall cov- 
ered by a richly panelled and decorated 
barrel-vault of wood, the east 
end raised by several steps above 
the principal floor, forming a 
presbytery enclosed by a balus- 
trade, with au octagonal pulpit 
at each end. From the east 
Avail of the presbytery opens 
the sqnare sanctuary, by a 
round arch springing from an 
entablature over Corinthian 
pilasters, witli similar arches 
on the side walls and at the 
east end, over the small apse. 
Over these four arches rises a 
dome on a low drum, covered 
by an external dome of wood, 
lender the sanctuary is tlie sa- 
cristy approached by a spiral 
stair in a small octagonal cam- 
panile. The church was begun 
in 1481 and finished in 1189. 
{See Fir/. 2J,1.) 

Sta. Makia della Salute, 
one of the most familiar and 
conspicuous of the Venetian 
churclies, was built in 1632 
from the designs of Longhcna. 
in accordance with a decree of 
the Senate, to commemorate 
tlie cessation of the i)lague of the pre- 
vious years. Its plan is an octagon about 
05 ft. in diameter, supporting a hemi- 
spherical dome on a high tambour, and 



surrounded by an octagonal aisle about 20 
ft. wide, from each side of which, excejDt 
the two in the longitudinal axis of the 
building, opens a shallow rectangular 
chapel. The dome is supported on eight 
massive piers carrying round arches, and 
in each angle is a detached column whose 
entablature makes the impost of one great 
statue. Each face of the octagonal tam- 
bour has two round-headed windows. 
The choir, ojDening from the easternmost 
face of the aisle, expands into a sort of 
transept, having a square central bay 
flanked by two apses and covered by a 
high dome. Behind it is a retro-choir, 




Pig 241.— Venice, Sta. Maria dei Miracoli. 

connected by a triumphal arch. The ma- 
terials and decoration of the church are 
sumptuous. The exterior in white mar- 
ble is imposing and picturesque, the west- 



5->3 



VENICE 





Fig. 242.— Venice, S. M. della Salute. 

ern face of tlie octagon being emphasized 
by a portico of four Corintliiau columns 
in form of a triumphal arch, Avith pediment 
and balustrade-course. The portico is 
approached by a broad and stately flight 
of steps from the canal. The chapels 
projecting from the surrounding aisle are 
treated in two stages : the lower stage 
with an order of four Corinthian pilasters 
with niches in the intervals containing 
statues, the upper with a large semicir- 
cular window flanked by pilasters and 
surmounted by a pediment. The tam- 
bour of the great dome is decorated with 
pilasters bearing an entablature and balus- 
trade-course, and from the two pilasters 
at each angle of the octagon enormous 
scroll-buttresses project over the roof of 
the surrounding aisle, but the dome is 
said to be of timber. The lesser dome 



and 



m 



over the choir is flanked by two 
slender square campaniles, which 
with the two domes group pictu- 
resquely in any general view of 
the church. All the pediments, 
and even the scrolls surrounding 
the great dome, are surmounted 
by statues. The church is im- 
agined to rest on more than a 
million piles, and is said to have 
cost more than half a million gold 
ducats. {See Figs. 2J^, 24B.) 

Sta. Maria Zobenigo, or 
dell' Annunziata, a Eenaissance 
church built in 1680, on the site 
of three earlier churches dating 
from the v, vii, and x cents., 
respectively. Tlie present struct- 

. ure is chiefly remarkable for its 
fa9ade, designed by Sardi, and 
an example of the worst extrava- 
gances of the later Eenaissance. 
It is in two stages, the loAver di- 
vided into five bays by coupled 
Ionic columns on high pedestals, 
with a broken entablature, and 
enclosing in the middle inter- 
val a round - arched doorway, 

the others decorated niches con- 



taining statues. The same arrangement is 




Fig. 243.— Venice, S, M, della Salute. 



534 



VENICE 



repeated against the nave over the three 
middle intervals, the order being here 
Corinthian, and the centre occupied by a 
statue raised on a higli pedestal which 
divides a sarcophagus, with a background 
of stone drapery. Above is piled a mass 
of architectural fragments — caryatids, 
statues, pediments, trophies, and the like. 
The baroco nave is lined with a broken 
order of Ionic columns, carrying a coved 
ceiling with lunettes. It is flanked by 
six lateral chapels, and ends in a square 
choir. 

S. MoiSB (St. Moses), a late Renaissance 
church rebuilt in 1G88 by Tremignano, 
on the remains of two older churches, the 
first of the viii cent. , the second of the XV 
century. Little of the earlier work is jire- 
served in the present structure, which is 
chiefly remarkable for its fa9ade, in Avhicli 
the Avorst extravagances of the Eenaissance 
are exemplified. The interior contains 
some notable jiictures, among them one by 
Tintoretto. 

S. NiccoLO DEI ToLEXTiNi, a conspic- 
uous Renaissance church begun in 1591 
by Scamozzi, from the designs of Palladio, 
who had died some years before. Its plan 
is peculiar in some respects, including a 
nave about 45 ft. broad, from which open 
three square chapels on either side, occu- 
l)ying the place of aisles, and connected 
with tlie nave by round arches in the in- 
tervals of a florid Corinthian order, from 
the entablature of wliicli springs tlie bar- 
rel-vault of the nave witli lunettes enclos- 
ing semicircular windows. Tlie transept 
ends are two shallow bays continuing the 
line of the outer Avail of the chapels, and 
from each projects a square chapel. The 
choir is a long, narroAV rectangle. Tlie 
crossing was to have been covered by a 
round dome, of Avhich only the drum Avas 
built, noAV covered by a Ioav conical roof. 
The front consists of a great Corinthian 
licxastyle portico, of the Avhole breadth 
and height of the church. 

S. Salyatoke, a Renaissance cliurch be- 



gun in 1506 by Giorgio Spavento, and 
continued in 1530, under Tullio Lombar- 
do. It is cruciform in plan, the nave and 
crossing divided into three square bays 
covered by high domes with lanterns, alter- 
nating Avith short bays covered by barrel- 
vaults. The square bays of the nave open 
into the aisles by lofty round arches 
springing from a high attic over an order 
of Corinthian pilasters, coupled, and divid- 
ed by a narroAV round arch under the en- 
tablature. The transe^Dt is short, square, 
and plain, with a single grouped window 
in each end ; the nave and aisles terminate 
each in a round apse. Tlie interior is one 
of the most beautiful in Venice, and meas- 
ures about 175 ft. in length by 65 ft. in 
breadth. The fa9ade, added by Sardi in 
1G63, has an order of engaged Corinthian 
colunms Avith the entablature broken for- 
Avard over the columns and carrying stat- 
ues, and surmounted by a high attic divid- 
ed by pilasters. 

S. Stefaxo, a XIV cent. Gothic church, 
about 80 ft. AA'ide and 170 ft. long. It is 
of basilican form, Avitli nave and aisles 
each ending in an apse, and Avithout a 
transept. The nave has a breadth of 48 
ft., and is coA'ered by a timber roof con- 
cealed Avithin by a ceiling boarded in a 
series of cusps and decorated with color. 
The aisles are in six square bays set 
off into chapels, each domed. The main 
piers are slender marble columns Avith 
rather classic capitals, supporting pointed 
arches. The high choir is in two A'aulted 
bays, ending like the aisles in a jiolj'gonal 
apse. The exterior is all in brickAvork of 
admirable execution. Tlie front has a 
square doorAA'ay enclosed by richly sculpt- 
ured mouldings, and covered Avitli a flat 
cusped ogee arch flanked Avith pinnacles 
and ornamented with immensely devel- 
oped crockets resembling those of St. 
Mark's, and a statue in place of a finial. 
The east end has high AvindoAvs Avith tra- 
ceried heads. The island on which the 
church is built being too small, the choir 



5-25 



VENICE 



is bridged over a narrow canal to an adja- 
cent island. A fine square brick camjDa- 
nile, much resembling that of the Frari, 
stands at the north of tlie choir. It has 
two stories of high arched panels, a belfry 
with three round arches in each face, and 
an octagonal stage above. The church 
has a cloister, added in about 1530 ; the 
church itself having been finished in 
1335. 

S. Zaccaeia was begun in 1457 as a 
Gothic church, and finished about 1500 
with a Kenaissance exterior. Its plan 
shows a nave in three square bays, the first 
two covered by groined vaults, the third 
by a hemispherical dome, and ending in a 
polygonal apse ; and lofty vaulted aisles 
one-half the breadth of the nave, carried 
round the apse, with a ring of chapels out- 
side. The nave columns are high and slen- 
der, and carry round arches and a clere- 
story with small arched windows. The wall 





'v'i-j 


L^::^:^.J 


f'M 


[ 


'' ■■it''--- --•■'1L-' '^ 

:r:::^::::~:l::^::v^^ 






Fig. 244.— Venice, S. Za 



of the choir and apse is in two tiers of 
arches, round below and pointed above, the 
ujDper arches beiug divided into lights by 
columns. The f a9ade was evidently begun 
in accordance with the Gothic j^lan ; its 



high basement — with the exception of the 
Renaissance doorway in the centre, with 
Corinthian pilasters and round pediment 
surmounted by a statue — shows in its 
panelling of red and white marble, and 
in its general decoration, a distinctly 
Gothic character. A second stage of nar- 
row round arches carried across the whole 
front on slender pilasters, enclosing flat 
niches with a two-light window in the 
end of each aisle, indicates a period of 
transition. The upper portion of the 
front is frankly Renaissance, with its 
centre corres^Jonding to the nave, carried 
above the sides and separated from them 
by detached coupled columns in three 
stages, resting on square buttress pilasters 
below, and with the entablatures broken 
round them. The nave and aisles are 
lighted by round-arched windows between 
pilasters or columns. The central di- 
vision finishes with a high round pedi- 
ment surmounted and flanked by statues ; 
the side divisions with half-pediments of 
similar form. The church contains many 
fine |)ictures, among which is one of John 
Bellini's finest works. {See Fig 244-) 

The ScALZi, the church of the Bare- 
footed Carmelites (Carmelitani Scalzi), 
dedicated to Sta. Maria in Nazzareto, is a 
Renaissance building begun 1646, under 
the architect Longhena, and finished 
about 1689. The interior consists of a 
nave without aisles, but with three chap- 
els opening fi'om each side, and a capella 
maggiore occupying the place of the choir 
at the east end. The decoration is ex- 
travagant in style and materials. The 
faQade, attributed to Sardi, is much more 
restrained, although still very rich. It is 
in two stages, the lower consisting of an 
order of Corinthian columns, coupled in 
six pairs, on high pedestals, with a broad 
arched doorway in the central interval, 
and in the sides round-arched niches with 
statues. The second story of the nave has 
four pairs of columns instead of six, fin- 
ishing Avith a triangular pediment, with 



5i6 



VENICE 



an inner pediment of segmental form 
covering the middle interval, and is 
flanked by scroll buttresses which, mask 
the roofs of tlie side chapels. The pedi- 
ment is surmounted by five statues, and 
the whole front is built of rich marbles. 

ScuoLA Di 8. Giovanni Evange- 
LiSTA, one of the smaller and less known 
of the Venetian Scuole. The buildings 
occupy three sides of a somewhat narrow 
court, open to the street, and closed at the 
opposite end by a screen ornamented with 
an order of Corinthian pilasters which 
run round the sides of the court, and of 
which the entablature is decorated with 
bas-reliefs of great richness and beauty. 
In the central interval is a broad square 
doorway with carved architrave ; in the 
side intervals a single square window with 
pilasters carrying entablature and pedi- 
ments. The interior lias a sumptuous 
staircase hall and chapel witli Corinthian 
columns on pedestals, carrying rouiul 
arches with panelled and carved soffits, 
the walls inlaid with precious marbles. 
The building belongs to the school of the 
Lombardi, and dates from the second half 
of the XV century. It has been lately re- 
stored. {See Fig. 340.) 

ScFOLA 1)1 San" Marco, the home of 
one of tlie peculiar class of confraternities 
existing in Venice in the xv and xvi 
cents., of whicli the character was partly 
religious and partly charitable. The first 
building was burned in 1-485. The pres- 
ent one was begun in 1490 by Martino 
Lombardo. It is one of the richest and 
most conspicuous of the Renaissance build- 
ings of Venice, but is designed in an ex- 
travagant taste, more decorative than 
architectural, and in defiance of the rules 
by which the developed architecture of the 
Renaissance was governed. Its fa9ade is 
of irregular height, with two stories divid- 
ed into bays by Corinthian pilasters with 
broken entablatures. All of the bays are 
surmounted by semicircular gables, of 
which three are combined into a principal 



group, raised on an attic story, and 
crowned and flanked by statues. Of this 
portion the central bay in the lower story 




Fig. 245. — Venice, Scuola di S. Giovanni, Interior detail. 

is occupied by a square doorway with a 
round-arched head, enclosed between de- 
taclied Corinthian columns carrying a 
broken semicircular pediment. Tlie in- 
tercolumniations of this story are filled 
with reliefs in marble in simulated per- 
spective. The intervals of the second 
story are in part occupied by arched win- 
dows flanked by an order of pilasters with 
pediment. Those of the attic are occu- 
pied by statues in decorated niches, in the 
centre the Avinged lion of St. Mark sup- 
ported on five columns, and above is a 
semicircular pediment higher and broader 
than the rest and crowned by the statue 
of St. Mark. The remarkable feature of 
this fagade is the extreme richness and 
beauty of its sculptural decoration. The 
pilasters, columns, and archivolts of the 
great doorway, the friezes and pediments 
in all the stories, and the members of the 



52T 



VENICE 



windows aud niches are covered with bas- 
reliefs of admirable design and execution, 
mostly attributable to Bartolommeo Buon 
and Tullio Lombardo. Tlie interior has 
on the first story a hall divided by two 




heiglit of over 30 ft. 
building 



rows of columns on high jiedestals, and a 
fine double staircase leading to the upper 
hall and chapel, with richly decorated 
panelled ceilings in all the rooms. The 
building has since 1815 been made a por- 
tion of the civil hospital of Venice. {See 

ScuoLA Di SA]sr Eocco, the most gener- 
ally known of the Venetian scuole, partly 
from its elaborate architecture, but more 
especially from the pictures of Tintoretto 
which it contains. It has three fa9ades, of 
which the principal one, behind the church 
of the Frari, is divided into five bays 
by Corinthian pilasters on pedestals carry- 
ing full entablatures, broken forward over 
the pilasters. Of these five bays, three are 
principal, forming the front of that por- 
tion of the building which contains the 
great halls, and these are emphasized by 
detached Corinthian columns standing in 
front of the pilasters. Their central bay 
contains on the lower story a broad round- 
arched doorway flanked by columns Avitli 



entablature and pediment ; the other 
bays contain double arched windows in 
each story, with entablatures and pedi- 
ments in the upper. The principal lines 
of the fagade are continued on the side, 
but the architecture is 
simpler and without col- 
umns. The interior con- 
sists of two great halls one 
above the other, connected 
by a noble staircase with a 
domed ceiling and sculpt- 
ured walls. The u^jper 
hall is about 125 ft. long 
and 43 ft. broad, with a 
The 
was b e g u n in 
1517 by Bartolommeo 
Buon, continued by Sante 
Lombardo, and finished 
in 1527 by Scarpagnino. 

TOKRE DEL OrOLOGIO. 

The clock - tower, built 
about 1496 by Pietro Lom- 
bardo, is a conspicuous feature of the 
square of St. Mark at the eastern end of 
the Procuratie Vecchie, and forms the 
central portion of a building with a front- 
age of about 80 ft. encaged in clumsy 
pilasters and entablatures. The tower, 
about 100 ft. high, stands over a broad 
and lofty open arch, through which a 
street is carried. Above this, in succes- 
sive stories, are a great sun-dial some 16 ft. 
in diameter emblazoned with the signs of 
the zodiac ; then a tabernacle enclosing a 
sitting statue of the Madonna, and two 
square niches from which at certain hours 
four carved figures issue to do her rever- 
ence ; and in the upper story a blue field 
with gold stars bears the winged lion of 
St. Mark. The tower is crowned by a 
balconied terrace on which stands the 
great bell Avith a figure of Vulcan, so- 
called, on either side, which is made to re- 
volve and strike the hours with a hammer. 
Tlie Zecca, or Mint, is a Renaissance 
building begun in 1536 by Sansovino, 



VEXOSA 



whose design was accepted after a compe- 
tition. Its maiu front toward the sea is 
about 83 ft. long, and is of three stories, 
the lowest a basement of nine arches 
springing from plain piers with simple 
imposts, and walled u]) as high as the 
spring with rustic work, the arch-head 
being filled with 'semicircular windows. 
The second and third stories consist each 
of an order of engaged columns, Doric 
and Ionic respectively, with rustic shafts, 
the intervals occupied by square windows, 
those of the third story with jDedimented 
caps. This faQade is without any door- 
way, the entrance to the building being 
fi-om the arcades of tlie Library adjacent. 
The cortile, by Hcamozzi, is of similar 
architecture, the lower arcade of strong 
and heavy rustic work, tha second story 
of round-arched windows with sliglitly 
projecting Doric pilasters between, on a 
balustrade-course ; the third story with 
Ionic liilasters and entablature with sim- 
ple square windows in tlie intervals. In 
tlie middle of tlic cortile is a well with 
flanking rustic columns and entablature, 
surmounted by a statue. Since 1870 this 
building has ceased to be used for its orig- 
inal purpose, and now serves as an ex- 
cliange and chamber of commerce. 
VENOSA, Italy. 

St.v. Tkixita. The Benedictine abbey 
was founded by Robert Guiscard near the 
end of the xi cent., and its church was 
consecrated by Pope Mcholas II. in ll.")9, 
according to an inscription on the walls. 
Toward the end of the xiii cent, the 
Benedictines resolved to enlarge tiieir 
buildings, and they built a new churcli 
directly to the eastward of the old one, 
its side walls continuing those of the old 
church, and the apse of the latter project- 
ing into the new nave. The two build- 
ings form an interesting contrast in plan 
and design. The old church is a rect- 
angle about 85 ft. wide and 130 ft. long, 
with a nave divided into four oblong bays 
by transverse round arches springing from 



square pieis ; the aisles, whose west wall 
recedes one bay from the front of nave, 
are for the most part divided into chapels. 
The broad transept is divided by two 
arches which continue the line of the 
nave arcades, and its central division has 
a semicircular apse of the full breadth of 
the nave. The ceilings are everywhere of 
wood. The floor of the transept is raised 
by several steps above that of the nave. 
There is a closed porch on the front, with 
a line doorway, in which two compound 
piers with decorated mouldings and bases 
carry a lintel of the same character, cov- 
ered by a pointed bearing-arch and low 
galjle. Tlie tympanum is filled with sur- 
face tracery of small horseshoe arches, 
and a diaper of Byzantine character. 
The inside sculpture is very varied and 
interesting. The churcli contains a plain 
marble sarcophagus, the tomb of Eobert 
Guiscard. The newer church, which was 
never finished and which is now much 
ovei'grown, has a plan much like that of a 
northern church — a well-develojjcd Latin 
cross, nave and aisles separated by pointed 
arches on columns, aisles in six square 
groined bays (the one on the S. W. occu- 
2)ied by the tower of the old church), 
a long transept quite undivided, with 
square ends, and a flat apse on the east 
wall of e.ich. From the centre opens the 
square choir of the full breadth of the 
nave, with a semicircular termination, 
and the aisle carried round it and divided 
into groined bays, with three radiating 
apsidal cliapels. Except in the aisles all 
the ceilings are of wood. 
VERCELLI, Italy. 

S. AxDREA (St. Andrew), an early 
Gothic church, interesting from its wide 
departure in many particulars from the 
usual forms of Italian Gothic (See Fig. 
2Jf7). It is cruciform, about 220 ft. long, 
and 120 ft. wide across the transept. The 
fa9ade has a breadth of 102 ft., with two 
tall, square, and very slender angle towers, 
between which is a single low gable mask- 



52!) 



VERCELLI 



ing all the roofs. It is divided into three 
compartments by clustered pillars or but- 
tresses rising to half the height of the 
nave vault. Each compartment has a 
deei^ly spla3'ed round-arched doorway, with 
jamb columns and corresponding arch- 
mouldings. The tymj)ana are charged 
with reliefs. Over the central doorway is 
a large wheel- window, with tracery of 
interlacing arches, and above this again 
are two ranges of arcaded galleries across 
the front. The side walls are plain, with 
well-marked buttresses, flying buttresses 
over the aisle roofs, and an open arcade 
below the cornice, divided into groups of 
five arches to each bay. The cornice of 
the clerestory has an arched corbel-table 
with interlacing arches. The transept 
arms are narrow, and flanked by angle-but- 
tresses with pinnacles. They have in the 
lower stage two round -arched windows 




Fig. 247.— Vercelli, S. Andrea. 
Scale of 100 feet. 



like those of the aisles, above wliich is a 
wheel-window like that of the front. 
Above this again, as in the front, are two 
ranges of arcaded galleries and a low gable 
with a pinnacle at the apex. The flanks 
of the choir are treated like those of the 



nave and aisles. The east end is square, 
a rare thing in Italy. An octagonal lan- 
tern rises from the crossing in two dimin- 
ishing stages of blind arcades and round- 
arched windows, and terminates in a low 
octagonal sjjire of brickwork with small 
round pinnacles. It is in the interior 
that this church shows most clearly the 
influence of the northern Gothic. Its 
well-moulded nave arches are high and 
sharply pointed, and spring from clustered 
piers composed of a round core of brick 
surrounded by eight stone shafts, with 
large foliated capitals of remarkable char- 
acter. Of these piers, the front members, 
forming a group of three shafts, run up 
through the clerestory to the spring of the 
very sharp-pointed brick vault, of which 
the ribs are stone and the crown is about 
6-4 ft. above the pavement. The nave and 
aisles are of six bays, of unequal width, 
square in the aisles and oblong in the 
nave, as in the northern Gothic 
transej)t arms are square, in two 
bays, from each of which opens 
eastward a small apsidal chapel, 
choir is in two nearly square bays, its east 
end filled with a triplet of lancet windows 
with a wheel-window above, and having 
much the appearance of an English chan- 
cel. The floor is raised by four steps 
above that of the nave. Tlie aisles and 
clerestory are lighted by small round- 
arched windows. The vaulted octagonal 
lantern at the crossing is carried on 
squinches, and surrounded at its base by 
an open gallery of narrow round arches. 
On the north side of the nave is a clois- 
ter from which opens a square chai3ter- 
house with a vaulted roof carried on piers. 
A detached square campanile, standing 
obliquely to the church, is of later date 
by two centuries than the church itself, 
which was begun in 1219 by Cardinal 
Bicchiere and is said to have been finished 
within three years, at the cost of ninety- 
five thousand gold ducats, by an English 
architect brought to Italy for the M'ork — a 



The 
oblong 
to the 

The 



YEEOXA 



tradition not unreasonable, in view of tlie ward beyond the aisles, opens into them 
strongly northern character of the interior, through four small arches on each side, 
The consecration took place in 1224. It carried alternately on columns and square 
is remarkable that some of the detail, par- piers or pilasters. The walls without are 
ticularly the capitals of the nave piers and laid in alternate bands of brick and stone, 
a broad band of sculpture enclosing the and tlie apses decorated with slender pilas- 
tymjiani of the western 
doors, is of a marked 
Byzantine character. 
VERONA, Italy. 

The Amphitheatre 
is i^robably of the be- 
ginning of the III cent- 
ury. The outer wall 
was damaged by an 
earthquake in 1184, 
and a great part of its 
stones was used as 
buihling-material. but 
since 1228 good care 
has been taken of the 
remains. Only four 

arches of the original 

seventy- two of tlie 

outer wall are stand- 
ing, but most of the 

interior, with its vomitoria and its forty- 
four tiers of seats, is in good i:)reserva- 

tiou. The general plan is that of tlie 

Colosseum at Rome, except that tlie 

Veronese amphitheatre is but three sto- 
ries high and its decorative architecture 

is entirely Tuscan. The greater axis 

measures 506 ft., the lesser, 403 ft. ; the 

axes of the arena are 248 ft. and 145 ft. ; 

tlie height is 98 ft., the area nearly four 

and one-third acres. The material of the 

substructions is brick, of the superstruct- 
ure, white and red Verona marble. The 

arena could be flooded, probably with 

water from the Adige, so as to be used for 

a naumachy. (See Fig. 248.) 

The Baptistery, S. Giovanni in Fonte, 

is perhaps an old church converted to this 

use, and, unlike other Italian baptisteries 

in ])lan, is a small basilica. Tlie nave 

and aisles end abreast in three apses, and 

tiie nave, unvaultcd and prolonged wost- 




Fig. 248. — Verona, Amphitheatre. 

ters, as in the adjoining cathedral, and ar- 
caded cornices. The building has been 
ascribed to the xii cent., but it is likely 
that it is much older, and was restored 
after an earthquake in 1122, at wliich 
time the aisles were vaulted and the 
font placed in the nave — a remarkable 
basin of red marble, 9 ft. across, adorned 
M'ith reliefs and arched corbel-tables. 

Tlie Cathedral (Duomo), dedicated to 
Sta. Maria Matricolare, is an originally 
Romanesque church of the xii cent., but 
substantially rebuilt, as far as the interior 
is concerned, in the xiv century. The 
nave and aisles are in five vaulted baj-s, 
M^ith clustered piers of red marble and 
carved capitals carrying pointed arches. 
The choir is separated from the nave b}' a 
curved screen of marble, with Ionic col- 
umns and cornice, the M'ork of Sanmicheli 
in l.')34. who also Iniilt the interior of the 
cliuir and tlie line of chaijcls on the 



531 



VERONA 




Fig 249 —Verona Cathedral fr t 

south aisle. The church, built iu the 
first half of the ix cent., was much al- 
tered in the latter half of the xi and be- 
ginning of the XII, and reconsecrated 
after rebuilding the nave in 1187. The 
nave was vaulted in 1402 ; Sanmicheli's 
alterations were made in 1534. The fa- 
5ade of marble shows traces of most of 
these changes. The lower part belongs to 
the IX cent, and still shows bands of the 
original sculpture. The graceful two- 
story porch, with bold round arches on 
slender columns supported by griffins, and 
containing fragments of the older work, 
dates from the beginning of the xii cen- 
tury. So do the three tiers of shafted 
arcades which are interrupted by its up- 
per story. Fragments of arcaded cornice 
show the low height of the original aisles, 
and are broken by tall two-light pointed 
windows which are contemporary with the 



nave, over which the wall is 
rebi;ilt in stripes of brick and 
marble. Above the broken 
arcaded cornice which finished 
this fagade rises the higher ga- 
ble of the nave, of Renaissance 
detail. The south side has a 
two-story porch with interest- 
ing sculpture, and three pro- 
jecting chapels, one square, the 
others semicircular, decorated 
by an order of fiat Corinthian 
pilasters. The eastern apse is 
similarly treated. On the north 
side is an ancient cloister orig- 
inally with two stories of ar- 
cades. The lower arcade re- 
mains — the arches rest on 
coupled columns of red mar- 
ble, each pair being of a single 
stone. The Baptistery {q. v.) 
stands to the north and east of 
the choir, with which it is con- 
nected. {See Fig. 2Jf9.) 

Gkan Guardia (Great 
Guard - house), a Renaissance 
building of serious and dig- 
nified design built in 1510 under San- 
micheli, or possibly one of his pupils. 
It has a long fa9ade in two stages, the 
lower consisting of high narrow rustic 
arches springing from heavy piers, the 
upper an order of coupled Doric columns 
on a high pedestal-course. There are fif- 
teen intervals, of which the five in the mid- 
dle are filled with round arches, while the 
five on either side have square windows 
and a mezzanine above. The centre is 
carried up as an attic. The building is 
now used as a warehouse. 

Palazzo Bevilacqua, an uncompleted 
XVI cent, palace from the designs of San- 
micheli, of which the faQade only is not- 
able. It is in two stages, the lower of 
rustic masonry with flat Doric pilasters, a 
bracketed cornice, and a series of round- 
arched windows interrupted by one simi- 
lar doorway. Above this the second story. 



632 



VERONA 



the piano nobile, is faced with an order of 
rich Corinthian columns on a high balus- 
trade, arranged like a repeated triumphal 
arch, with three great open arches alter- 
nating with four smaller ones with pedi- 
ment caps, and small square windows 
above. 

Palazzo del Coksiglio (Council-hall), 
a Renaissance palace of the xv cent. . Avith 
a delicately designed fa9ade of two stories, 
the lower an open loggia of eight round 
arches on Corinthian columns standing on 
a balustrade raised over two plinths 
above the square. A thin entablature 
separates this story from the second, 
which is divided by an order of scattered 
Corinthian pilasters into four intervals, 
each containing a two-light window with 
round-arched openings separated by Co- 
rinthian columns and enclosed between 
Corinthian pilasters bearing an 
entahlature and round pedi- 
ment. The whole front is ex- 
tremely rich in ornament, the 
wall spaces covered with a 
painted decoration, the pilasters 
witli arabesques in relief ; and 
above the cornice are statues of 
Latin writers claimed as citizens 
of Verona. Tlio l)uilding is said 
to be the work of Fra Giocondo. 
{See Fig. 250.) 

Palazzo dell a Racuoxe 
and palace of the 8caligers arc 
an irregular pile of buildings 
dating from the Xlil or xiv 
cent., surrounding the Mercato 
Vecchio, and adjoining sides of 
the Piazza dei Signori. The ar- 
chitecture is various — the most 
characteristic portions consist- 
ed of an arcaded lower story 
with very large open round 
arches carried on slight columns, 
and supporting a second story — 
likewise witli an open arcade but 
■ of snuiller pointed arches. Mith a 
balustrade between and reached 



by a ^picturesque open arcaded staircase in 
an angle of the court. Out of the roofs of 
these buildings rises a noble bell-tower, 
one of the finest in Italy, nearly 300 ft. 
high, its lower j)ortion built with alter- 
nate courses of brick and marble, and con- 
tinuing for the remainder of its height 
with simple brickwork, almost imbroken, 
until the belfry stage is reached. Here is 
a triple-arched opening in each face with 
round arches on couj^led columns, with 
pointed bearing-arch of black and white 
voussoirs. Above is a thin projecting 
cornice on brackets, and a final octagonal 
stage witli two stories of openings, the 
upper story having a two-light arched 
window in each face with pointed bearing- 
arcli. This tower is said to have been 
built toward the end of the xii cent., by 
the Laraberti family. It came later into 







^ritiiiiiijl |iiii„,„il|, 



IllllUiillllllP • 



ilgllO. 



633 



VERONA 



possession of the Commune, and in 1370 
was brought to its present form. 

EoMAisr Akch, which now spans one 
of the chief streets of the city, and 
called the Porta dei Borsari. It is a 
double archway ornamented in the upper 
stories with little columns, entablatures, 
and jjediments, and is rather poor in de- 
sign. It was built or restored by the em- 
peror Gallienus, 265 a.d. Only one face 
now appears. 

Roman Gateway, a double arch now 
known as the Arco dei Leoni. It is of 
light and elegant proportions, though a 
part has been destroyed. Its highest 
story was ornamented with small detached 
columns with twisted fluting. The archi- 
trave above the surviving arch, which is 
flanked by Corinthian columns, bears an 
inscription. This monument is nearly 
contemporaneoi;s with the Porta dei Bor- 
sari. 

Sta. Anastasia, a Gothic Dominican 
church of the xiii cent., about 300 ft. 
long and 75 ft. broad, with nave and 
aisles of six bays, those of the nave nearly 
square, those of aisles oblong, transept 
and choir of a single square bay, termi- 
nating in a decagonal apse. Prom each 
transept arm two chapels open on the 
east side, each with a small polygonal 
apse of four sides ; from the north arm 
opens a sacristy in two vaulted compart- 
ments, of which the easterly one ter- 
minates in an apsidal chapel. The nave 
piers are round and carry obtusely pointed 
brick arches with plain unmoulded edges. 
Flat pilasters rise from the capitals 
through the clerestory to take the vault- 
ing ribs of the nave. The whole church 
is groined. The clerestory is pierced with 
small round windows with plate tracery. 
The walls and vaults are painted and 
adorned with patterns of flowers and 
foliage on a white ground. The pavement 
is of white, red, and gray marbles in geo- 
metrical patterns. The exterior is of red 
brick roughly laid, with brick cornices, 



pinnacles, etc. The unfinished front has 
a fine doorway of parti-colored marbles, 
with a fresco in the head of the arch. 
The aisle windows are pointed, of two 
lights, with trefoil and pointed bearing- 
arch. In the angle of choir and north 
transept is a square brick campanile v/ith 
octagonal spire. The church was begun 
in 1290, but was not finished until 1422. 
Balanced on the wall of the cemetery ad- 
joining the fa9ade is the tomb of Castel- 
barco, called by Mr. Ruskin the most per- 
fect Gothic sepulchral monument in the 
world, a square four-gabled canopy of four 
pointed arches on graceful columns, cover- 
ing a sarcophagus carved with a recum- 
bent figure, and .surmounted by a clumsy 
pyramid. 

S. Fermo Maggiore, a Gothic church 
without aisles, with a nave some 50 ft. 
wide and of equal height, from the east 
end of which three broad arches open into 
a chancel flanked by two aisles, and end- 
ing in a polygonal apse. The nave has a 
wooden ceiling, cusped and boarded, di- 
vided into panels and decorated in color. 
The transept is of small projection and 
without marked features. A remarkable 
crypt of unusual height extends under the 
eastern portion of the church, with square 
piers supporting a groined vaulting of 
brick. The crypt was formerly painted 
throughout, and ti'aces of this decoration 
are still to be seen on walls and roof, and 
even on the piers, the larger of which bears 
a flgure on each face. A marble pulpit is 
corbelled out from the south wall of the 
nave with sculptured canopy over it, and 
surrounded by wall paintings. The fa- 
cade is in two principal stages ; the flrst of 
marble with a large round-arched doorway 
in the centre with deeply moulded jambs, 
and approached by a flight of some sixteen 
steps. On either side are two stories of 
blind arcades cusped and pointed, the low- 
er continued round the north side of the 
church, the upper on engaged and coup- 
led shafts, including a pair of windows. 



534 



VERONA 



Flanking the doorway on either side is an 
arched and gabled canopy, that on the 
north supported on shafts, and covering a 
sarcophagus resting on corbels and bear- 
ing a recumbent figure. The uj^per jjor- 
tion of the front is of alternate bands of 
brick, and marble, with a group of four 
tall cus^^ed and labelled lancets in the cen- 
tre, above which is a three-light window 
covered by a pointed bearing-arch, and 
flanked by small round windows. The 
angles of this fine front are marked by 



the angles. Of the original church the 
crypt still remaining is believed to date 
from 755. The present church belongs to 
the early years of the xiv century. {See 
Fig. 231.) 

S. LoREXzo, one of the oldest churches 
in the city, is a three-aisled round-arched 
church, with round apses at the end of 
nave and aisles, and may date from the ix 
or X century. It has the Lombard pecul- 
iarity of double bays, with alternate jjiers 
and columns. The two-storied aisles have 




Fig. 251. — Verona, S. Fermo Maggiore. 



tall square buttresses, undivided through 
their entire height, and terminating in 
grouped pinnacles. A single rather low 
gable covers the whole, with a rich cor- 
nice and arched corbel-table and a pinna- 
cle at the apex. The side-walls are of 
brick with a deep rich cornice and a pan- 
elled i^arapet above, and broad pointed 
windows high in the wall. On the north 
side is a fine projecting porch, with l)road 
pointed arches supported on columns. 
The apse has gables over each face with 
pinnacles between, and a round cusped 
window in each gable. A tall brick cam- 
panile stands on the north side of the 
choir, with a round spire and pinnacles at 



groined vaulting in both stories, and the 
nave a continuous barrel-vault, presum- 
ably late. Against the last eastward bay 
but one the aisles are doubled, making a 
quasi-transept, which however does not ap- 
pear in the nave. A cross gallery at the 
west end. added, it would seem, after the 
first building, connects the upper aisles. 
The exterior is of primitive character, 
banded in brick and stone, and the front, 
although altered, retains its original pe- 
culiarity of two round flanking towers be- 
tween which is a low gable, pierced with a 
round window over three arched windows, 
and a square-headed doorway below. The 
columns of the interior are apparently an- 



535 



VERONA 



tique, but have mostly later capitals and 
bases. The arched windows are single in 
the clerestory and altered in the aisles. 

S. Stefano (St. Stephen), believed to 
be the oldest church in Verona, and to have 
been built as a Christian basilica, in 524, 
but much rebuilt in later times. It has a 
narrow nave with side aisles, separated by 
four square piers on each side, carrying- 
round arches, upper walls unpierced by 
windows, and a wooden ceiling. There is 
a proper transept, yet the easternmost 
bay of the aisles is separated by an arch 
from the rest, answering to a transept, and 
over the crossing is a dark dome covered 
by a low octagonal tower. The choir, con- 
sisting of the two eastern bays of the nave, 
is raised by fourteen steps above a crypt, 
and terminates in a semicircular apse, 
round which a narrow vaulted aisle is car- 
ried, with four ]Diers separating it from 
the choir. The crypt, probably original, 
is singularly arranged in transverse aisles 
across the whole church, and is divided 
into groined bays by eight rude columns 
about 7 ft. high. The faQade, of brick 
and marble, has a central doorway with 
two buttresses at each side and two round- 
arched windows. 

S. Zeno Maggiore, one of the noblest 
examples of Lombard architecture, is a 
great basilica, with broad nave and aisles, 
but no transept ; the nave prolonged by a 
choir of a single square bay, ending in a 
half-decagon apse. The nave is in five 
square bays with massive grouped piers, 
from the capitals of which engaged shafts 
rise through the high clerestory to the 
roof. Of these shafts the pair nearest 
the west end of the church is connected by 
an arch thrown across the nave, the others 
disappear in the woodwork of the ceiling, 
which is arched and boarded, its section 
being a cusped round arch, and its sur- 
face painted. The aisles also, are ceiled 
with wood in the form of a simple lean-to, 
not painted. The bays of the nave are 
subdivided each by two round arches car- 



ried by a single marble shaft with curious- 
ly sculptured capital. Above these arches 
the clerestory wall is of unusual height, in 
alternate courses of brick and marble, and 
with a single tall window in each bay. 
The ritual choir is extended into the two 
eastern bays of the nave, from which the 
choir proper, of later construction, consist- 
ing of a single square groined bay with its 
apse, is separated by a high pointed arch. 
The floor of the choir is raised some 8 ft. 
above the nave, its front being protected 
by a balustrade of colonnettes with statues 
on the pedestals, beneath which are three 
great round arches occupying the whole 
breadth of the nave, separated by coupled 
marble columns, and giving access by 
broad descending stairs to a spacious and 
lofty crypt. In each aisle are two similar 
arches, while staircases on each aisle wall 
ascend to the floor of the choir. The 
crypt is divided into aisles by rows of red 
marble columns carrying groined arches, 
and in the centre is the shrine of the saint. 
The interior walls of the church, and even 
its piers and columns, were extensively 
painted Avith figure subjects, of which 
traces yet remain, particularly in the apse 
and eastern portion of the choir, where 
the decoration was most elaborate, and 
has been carefully renewed. On the north 
side of the choir is a fine cloister, with 
arcades of pointed arches on two sides and 
of round arches on the other two, the 
arches and the wall above of simple brick- 
work, supported on slender coupled red 
marble columns, with capitals and bases 
of white marble and standing on a low 
wall of stone. The exterior is of red brick 
with frequent courses of stone, except the 
front, which is of stone and marble. The 
side Avails are divided into bays by tri- 
angular buttresses, both on the aisles and 
clerestory, the upper portion finishing with 
an arched corbel-table. The fa9ade is 
in three divisions corresponding to the in- 
terior disposition. The central division 
has a broad doorway, under a slightly jiro- 



53B 



VEROXA 



Jecting jiorch, with rude sculiiture, con- 
sisting of a round arch springing from tall 
columns resting on lions. In the centre 
of the wall above is a large wheel- window, 
evidently a later insertion. An arcade of 
small coupled round arches divided by 
slender coui^led columns runs across the 
front at the height of the arch of the 
porch. The whole wall is panelled by 
pilaster - strips which terminate in an 
arched corbel-table following the rake of 



brick and white marble. There are two 
ranges of triple arcades in the belfry stage, 
surmounted by a round brick spire be- 
tween four pinnacles. The original church 
was built in the ix cent., by Eotaldus, 
bishop of Yerona, with the authority of 
Pipin, the son of Charlemagne, deputed by 
that monarch to govern his Italian prov- 
ince. Portions of the early church re- 
main. The western bay, which has triple 
arches between the piers instead of double, 




252. — Verona, S Zeno. 



the cornice. In the central division these 
panels are divided by horizontal corbel- 
tables above and below the wheel-window, 
and the lowest range of panels, on each 
side of the porch, is filled Avith archaic 
sculpture. The doors are believed to be 
as early as the ix cent., and are admirable 
examples of the art of that period. The 
wooden frame is covered with thin plates 
of bronze, with reliefs representing a great 
variety of subjects, mostly scriptural. The 
fine detached bell-tower on the south side 
of the church has four stages of plain 
wall divided by corbel-tables and pilas- 
ters, the wall being in alternate courses of 



and is cut off from the rest of the nave by 
a cross-arch, may be a j^art of it, but it 
was enlarged and practically rebuilt in the 
XII century. The choir is later, dating 
from 14-^1 "to 1430. The whole church 
has of late been carefully restored. {See 
Fig. 252.) 

Tombs of the Scaligers, a remark- 
able group of monumental tombs in the 
small cemetery in front of tlie little church 
of Sta. Maria Antica, dating from 1329 to 
1375, and commemorating various mem- 
bers of the family wdiich ruled Verona in 
the xiii and xiv centuries. The earliest 
is the tomb of Can Grande I., which is 



637 



VETRALLA 



built over the doorway of the church. A 
slab of marble supported on corbels on 
either side the doorway carries a sarcopha- 
gus resting on the figures of mastiffs, or- 
namented with bas-reliefs, and bearing the 
recumbent figure of the duke. Covering 
it is a canopy of pointed, cusped, and ga- 
bled arches, supported on sliafts of mar- 
ble, and crowned by a truncated pyramid, 
on which stands the equestrian statue of 
Can Grande. The monument of Mastino 
II., at the angle of the cemetery, consists 
of a square raised basement upon which 
stands an arched canopy on four columns. 
At the angles are little arched canopies on 
shafts, like the monument in miniature, 
containing figures of saints. Above the ga- 
bles rises a crocketed pyramidal roof, sup- 
porting the figure of the duke on horse- 
back. Under the canopy is the sculptured 
sarcophagus bearing the recumbent figure 
of Mastino. The monument of Can Sig- 
norio, the largest and most ambitious of 
all the group, stands within a hexagonal 
enclosure formed by a panelled marble 
fence some 5 ft. high, at the angles of 
which are panelled piers bearing tall 
shrines, each with four shafts supporting 
an arched and gabled canopy with pyram- 
idal spire, and enclosing the figure of a 
saint. These piers are connected by a 
wrought-iron fence. The monument it- 
self is hexagonal, and in two stages ; the 
first of clumsy Corinthian angle-columns 
supporting the platform on which rests the 
sarcophagus, elaborately decorated with 
bas-reliefs in panels, and bearing the re- 
cumbent figure of the duke. The second 
stage has heavy angle-shafts bearing point- 
ed and cusped arches, with a horizontal 
cornice above. Over this rises a truncated 
spire, surrounded by gables covering niches 
and statues, with pinnacles at the angles. 
The spire carries a heavy hexagonal pedes- 
tal on which stands the equestrian statue 
of Can Signorio. The structure, of great 
height and lavishly decorated, shows a 
marked decline from the older and simpler 



monuments of the group. The cemetery 
is enclosed on its two exposed sides by a 
beautiful wrought-iron fence on a jDanelled 
stone basement, with square stone piers at 
intervals bearing figures of saints. 
VETEALLA, Italy. 

S. Fkancesco is a simple basilica with 
one apse, consisting of six bays and a 
sanctuary that does not project. The ex- 
terior is plain and has but one doorway, 
the round-headed windows are small ; the 
style is that of the xi eentur3^ The 
transept and apse seem oldea* than the 
nave, which is very lofty and is separated 
from the aisles by high slender columns 
with large foliated capitals, similar, on a 
smaller scale, to those in the cathedral of 
Viterbo. [A. L. F., Jr.] 
VICENZA, Italy. 

The Basilica, called Palazzo della Ea- 
gione (or Town-hall), a singular instance 
of a Gothic public building which has been 
externally transformed to suit the Eenais- 
sance taste of a later age. It resembled the 
great hall at Padua, though smaller, being 
about 75 ft. wide by 165 ft. long, with a 
lower story partially open to the street. 
Two lines of piers and arches divide the 
interior and support the floor of the hall, 
which is in the second story, with rather 
low walls pierced by broad pointed win- 
dows with moulded jambs, and the ujoper 
portion of the wall faced on the outside 
with a diaper of parti-colored marbles, 
similar though inferior in design to that of 
the Ducal Palace at Venice. The hall is 
approached by an exterior staircase with 
balustrade of marble. The building is 
thought to have been completed in this 
form before the year 1494. But it was 
soon considered to be in a dangerous con- 
dition, and various projects for its recon- 
struction were entertained. In 1546, Pal- 
ladio and Giulio Eomano were employed 
to submit models in competition. The 
former was successful, and by him the 
building was enclosed with two ranges of 
stately arcades, concealing nearly the 



53S 



VICENZA 



whole of the original walls, which are 
among the most beautiful works of Ee- 
naissance architecture. They are com- 
posed with two complete orders of col- 




Fig. 253.— Vicenza, Basmca. 

umns, Doric in the first story and Ionic 
in the second, with balustrades, the pedes- 
tals of the upper balustrades bearing 
statues. Each broad intercolumniation in 
both stories is filled in with what has been 
called the Palladian motive — an arch rest- 
ing on smaller columns with a square 
opening on each side. The whole effect 
is extremely rich and festive. The in- 
terior of the great hall retains its ancient 
wooden roof of high pointed timber arches 
painted black and white, dividing the 
carved surface into vertical panels. Like 
that of Padua, of which this was doubtless 
a copy, the roof, instead of being enclosed 
by gables at either end, is hipjied from 
the four corners. {See Fig. 253.) 

'I'ho Cathedral (Duomo) is men- 
tioned in the xi cent., but was enlarged 
in 12G3-83 into a Gothic church with a 



broad nave in four square bays. Beyond, 
the eastern bay is covered by a polygonal 
dome, and intermediate "piers divide the 
aisles into square chapels, two of which 
corres2:)ond to one bay of the nave. 
The choir, raised over a high crypt 
and approached by a broad flight of 
steps in the centre, with stairs descend- 
ing on either hand to the crypt, fills 
the domed bay. There is no transept. 
The exterior is of brick. The front is 
covered by a single broad gable, and 
has in the lower jiortion a blind arcade 
of stone with a central doorway and 
pointed windows — and a rose above. 

Palazzo Barbaraxo, a Kenaissance 
palace built in 1570 from the designs of 
Palladio, with a stately fagade of two 
stories of square -headed windows and 
an attic. The lower story, rusticated, 
has an order of Ic ic half-columns with 
seven intervals, the central one filled 
l)y an arched entrance. The second or 
principal story has an order of three- 
quarter Corinthian columns ; its win- 
dows have balconies and pediment caps 
alternately triangular and segmental, 
with reclining figures, and are boi'- 
dcred with sculptured flowers and fruits 
in high relief. The friezes of both orders 
are decorated with sculi^ture, and the front 
shows a singular reversal of the ordinary 
proportion, in that the upper or Corinth- 
ian order is considerably shorter than the 
Ionic below. The attic has plain square 
windows with pedestals between, support- 
ing a line of statues. 

Palazzo Ciiieregati, now the Museo 
Civico, a Eenaissance palace built by Pal- 
ladio in 15GC. It has a long fa9ade of 
two orders, Doric below, Ionic above, and 
with a somewhat singular disjiosition. 
The centre, including five intervals, ji re- 
jects slightly and is marked by coupled 
columns at the extremities. In the lower 
story an open loggia runs the M'hole length 
of the front, slightly raised above the 
ground ; in the upper the wall of the ceu- 



VIOENZA 



tre only is brought forward over the col- 
umns below and faced with three-quarter 
columns, enclosing high windows with 
balconies and pediment caps alternately 
triangular and segmental, above which, 
under the entablature, are the small square 
windows of a mezzanine. Contrary to 
Palladio's habit, there is no attic. The 
palace is now used as the museum of the 
town. 

Palazzo della Ragione. See Basil- 
ica. 

Palazzo Tien"e, an ambitious Eenais- 
sance palace of rustic work in stucco, built 
from Palladio's designs in 1566. It has a 
long facade of two stories of square-headed 
windows and an attic, with slightly pro- 
jecting pavilions at the angles. The base- 
ment windows are covered with blind 
arches ; the second or principal story is 
faced with an order of Composite pilasters 
on a balustrade course, the windows deco- 
rated with Ionic columns whose outline is 




Fig. 254. — Vicenza, Teatro Olimpico, 

almost concealed by heavy rustic blocks 
with pediments. A decorated band joins 
the capitals of the pilasters, which support 
a thin entablature. The low attic is 
broken by pedestals supporting a line of 
statues. The court is a fine composition 
with two stories of oi^en arcades, the first 
very plain, of rustic masonry, with rough 



piers ; the second, elegant, with an order 
of Corinthian pilasters, the intervals filled 
with plain round arches with a delicately 
moulded archivolt and a rather thin balus- 
trade. 

Palazzo Valmaraka, a Renaissance 
palace built by Palladio in 1566. Its fa- 
Qade has some striking peculiarities of de- 
sign. It is in two stories of square-headed 
windows, the lower story having a full 
order of pilasters with a balustrade crossing 
the windows above, and a high arched 
door in the middle. This front is encaged 
in a single order of great Corinthian pi- 
lasters running w^ through both stories, 
their entablature furnishing the main cor- 
nice, with an attic over it. The basement 
is broken to form a pedestal for each of 
these pilasters, and the attic above them 
also to carry statues ; but they are strange- 
ly omitted at the corners. 

S. Lorenzo, a large brick church, orig- 
inally Romanesque, remodelled in Gothic 
form about 1280, with nave and 
aisles, large transept and choir. 
The nave arches are carried on 
round columns with coarsely 
carved capitals, and above is a 
clerestory with small round win- 
dows. The ceilings are groined. 
The church contains the tomb of 
Scamozzi, with his bust. The ex- 
terior is of brick with the excep- 
tion of the lower portion of the 
front, consisting of a blind arcade 
of seven high pointed arches, of 
which the three central ones are 
occupied by a pointed doorway, 
flanked on either side by canopied 
tombs of the xiv century. This 
story finishes with a corbel-table, above 
which the wall is of brick, covered by 
a single low gable with a great rose-win- 
dow in the centre, and five smaller round 
windows following the rake of the cor- 
nice. The side elevations seem to show 
a northern infiuence, the aisle Avails being 
divided into bays each with a pair of 



54U 



VICENZA 



simple lancet windows with trefoiled heads, 
and a small round windoAV alcove. A tall 
square brick campanile stands east of the 
north transept. 

La RoTOiSrDA. See Villa CJapra. 



In the lower order the middle inter- 
val has a high open arch, and two oth- 
ers on the side have square openings, 
through which are seen streets and squares 
of stately architecture constructed in 



Teatro Olimpico. This famous the- sharp perspective, ending each in a trium- 
atre. built in 15S4 from the designs of Pal- phal arch, which at a distance of 40 ft. 

from the spectator looks 400 ft. distaJit. 
The theatre is to be regarded rather as a 
skilful and ingenious conceit than as a 
building of practical utility, and has been 
long disused. (6'ee Figs. 25 Jf , 255.) 

Villa Capra, called La Rotonda, one 
of the most famous of Palladio's minor 
buildings, a country-house in the suburbs 
of the town. Its plan is a square of about 
70 ft. with a projecting portico on each 
side, consisting of six Ionic columns about 
2'-i ft. high, with entablature and pedi- 
ment. The building stands on a high 
basement, and the porticoes are reached 
by broad flights of steps. There is but a 
single story, surmounted by a low attic, 
was an attempt to reproduce the The interior has a central rotunda about 

It 30 ft. in diameter, occupying the whole 




Fig. 255.— Vicenza, Teatro Olimpico. 



ladio 

classic theatre of Greece and Rome. 

consists of an auditorium i;nder an awn 



height of the building, encircled bv a 



ing, in the form of a semi-ellipse, its longer balcony at the level of the ceiling of the 
diameter being about 97 ft., and its depth principal rooms, and terminating in a 
from the stage about 57 ft. There are hemispherical dome without windows. 



fourteen ranges of seats for the spectators, 
following the curve of the ellipse, and 
above these the auditorium is encircled 
by a screen decorated 
with an order of Corin- 
thian columns, a por- 
tion of the intervals 
opening from the the- 
atre, the remainder 
filled with niches en- 
closing statues. The 
scene, about GO ft. 
broad, is an architect- 
ural composition of 
two orders of engaged 
Corinthian columns on 
balustrade -courses, 
surmounted by a high 
attic with bas-reliefs. 



The building is planned and designed 
with exclusive reference to exterior sym- 
metry, and has been extensively copied in 




541 



VITEEBO 



tlie coimtry-h.ouses of England and other 
countries. {See Fig. 256.) 
VITEEBO, Italy. 

The Cathedral is a Romanesque basil- 
ica dating from about 1100. Ten pairs 
of marble columns, their capitals richly 
carved with human figures and monsters 
in Lombard style, divide the nave and 
aisles, and carry a corbelled string-course 
above the arches. It was restored, round- 
vaulted, and increased with chapels, in the 
XVII cent. ; and has a handsome bell-tower 
of the XIII cent., banded in black and 
Avhite marble, with traceried windows. 
The fine tessellated floor, in ojnis Alexan- 
drinum, is part of the original basilica. 
The modern fa9ade, with pilasters and 
scroll-buttresses, is delicately treated. 

S. Giovanni in Zoccoli is a remark- 
ably good instance of the late Romanesque 
style of the northern part of the Roman 
province, when influenced both by Tuscany 
and Lombardy, producing a result more 
harmonious and beautiful than the Lom- 
bard, more simple and broad than the 
Tuscan. It is a simple three-aisled basil- 
ica without transept. The length of the 
church is 90 ft. and its width nearly 50 
ft. Its interior consists of flve bays, the 
last being a raised choir supported by 
slender piers. The rest of the supports 
are very delicate columns built up of local 
stone, like the whole of the church. 
Their capitals are narrow and flaring, 
more primitive and less elegant than those 
in the cathedral of Orvieto : no two are 
alike, and the foliage is worked in high re- 
lief and sharp outline, producing strong 
effects. The five great arches of the 
interior recall Sta. Maria at Toscanella, 
but are uiore nearly Lombard in form. 
The interior is covered by a wooden roof 
and is lighted by ten round-headed win- 
dows. [A. L. E., Jr.] 

S. SiSTO belongs to the late Romanesque 
style. It is a basilica with three apses 
and no transept. The nave is supported 
on each side by four high columns and a 



grouj)ed pier toward the transept. Its 
delicate columnar style shows the influ- 
ence of Tuscany. The groined-vaulting 
over nave and aisles is recent, their orig- 
inal covering having been a wooden roof. 
The most remarkable part of the church 
is the choir, which appears to have been 
built in about 1300, after the nave and 
aisles. It is reached by a high flight of 
steps and consists of two bays whose vaults 
reach to nearly twice the height of the 
main body of the church. These are tun- 
nel-vaults ; three of them, those over the 
aisles and the one in the nave next to 
the apse, run parallel with the axis of 
the church : that over the central bay 
next to the nave runs transversely, and 
thus receives the thrust of the others. 
This arrangement is interesting, and so 
unusual as to be unique in this part of 
Italy. The two piers at the entrance of 
this choir are oblong, with engaged col- 
umns and pilasters ; the central support 
of the choir on each side is an immense 
column whose capital resembles strongly 
those in the cathedral of Orvieto. [A. 
L. F., Jr.] 
VOLTERRA, (anc. Volaterrje), Italy. 

The Baptistery is a small octagonal 
building of two stories, dating probably 
from the ix cent., but rebuilt in the xiii, 
with rude pilasters at the angles, a thin 
projecting cornice, and a low octagonal 
dome. The walls are of black and white 
marble in alternate courses. On one side 
of the octagon is a round-arched doorway 
with some interesting sciilpture, o:i the 
other sides single narrow round-headed 
windows. The interior has a fine octag- 
onal font b}^ Sansoviuo, and a beautiful 
ciborium by Mino da Fiesole dating fi'om 
14T1. 

The Cathedral, originally a small 
Romanesque church, consecrated in 1120 
by Calixtus II., was enlarged in tlie mid- 
dle of the XIII cent., and made into a Latin 
cross by adding a ti'ansept with a project- 
ina: choir. Niccolo Pisano is credited 



543 



VULCI 



with the alteration, or at least with the 
fa9ade, which is dated in 1254. Tliis re- 
sembles the fronts of Pisa and Lucca ; it 
has three round-arched doorways and ar- 
caded galleries above, with three round 
windows and a central gable. The church 
was considerably altered within in 1570, by 
Cipriani, covered with a flat ceiling, and 
the choir altogether modernized. It con- 
tains a marble pulpit, apparently of the 
end of the xii cent., supported on four 
granite columns which rest on the backs 
of lions, and adorned with reliefs some- 
what in the style of Niccolo, but of in- 
ferior sculpture. There is also a font of 
similar style ascribed to one Master Ste- 
fano in 1345. 

Palazzo Belforti, a jirivate palace 
probably of the xiv cent., with a fine sim- 
ple fagade of stone in four stories, some 65 
ft. broad and 70 ft. high. The first story 
has three high, broad, pointed - arched 
doorways ; the three ujjper stories have 
each a range of two-light windows with 
round -arched openings separated by a 
slender column, and a round bearing-arch. 
The front is quite unbroken by any string- 
course or moulding up to the cornice, 
which consists of a strong arched corbel- 
table and round-topped battlements. 

Palazzo Pl-bblico, a Avell-p reserved 
building of the xiir cent., witii a frontage 
of about 100 ft. and a depth of Go ft. 
The fagade is of stone in four stories, with 
a plain pointed-arched doorway in the 
centre at the level of the street, and at the 
side two similar but smaller doorways 
opening on a raised terrace, formerly serv- 
ing as a rlnghiera or balcony from which 
the magistrates addressed the people. 
The three Tipper stories, substantially 
alike in design, have all two-light win- 
dows, divided by slender columns and 
covered h\ pointed bearing-arclics. The 
front is finished with a line of semicircu- 
lar battlements. A low tower rises from 
tlie front wall, with arched corbel-table 
and battlements, above which was original- 



ly a belfry consisting of four massive col- 
umns carrying an entablature, which has 
now disappeared. 

Porta all' Arco, an ancient Etruscan 
arched gateway in the city walls, sur- 
rounded by mediseval work, with which 
its massiveness forms a striking contrast. 
It is a double gateway, with about 30 ft. 
between the entrances, which are con- 
nected by walls of huge squared blocks. 
The exterior arch bears three large human 
heads in the round, one on the keystone 
and the tM'o others at the springing on 
each side. The moulded imposts are al- 
most Greek in character. The inner arch 
more resembles Roman work, and shows 
mediteval restorations. 

The Etruscan Walls can be foUoAved 
through a great part of their circuit of 
about four miles, thougli in large part in- 
corporated with later fortifications. The 
masonry is approximately rectangular, 
much of it in very large blocks, and there 
are very impressive stretches of wall. Be- 
sides the Porta all' Arco {q. v.), there is 
another Etruscan gatewa}', also double, of 
precisely similar plan — the Porta di Diana, 
which, however, is not well preserved. 
Within the walls are remains of a Roman 
theatre, and of a piscina. The latter is 
underground, and consists of three lofty 
parallel vaults supported on square piers. 
The piers are braced together beneath the 
vaults by flat arches. Without the walls 
are extensive ruins of Roman therm;^, 
with masonry of brick and rubble, marble 
incrustation, and mosaic pavements, and 
an important Etruscan necropolis. 
VULCI (anc. Volci), Italy. 

PoxTE della Badia, a grand ancient 
aqueduct bridge spanning a deep ravine at 
the bottom of which flows a stream. It 
consists of a single si)lendid arch 9G ft. 
high by 62 ft. in span, with huge abut- 
ments of masonry, one of which is jnerced 
by a small arch. The masonry shows that 
the original construction of the bridge was 
Etruscan, and tliat the existing arches are 



643 



XANTHUS 



Eomaii. Huge sheets of stalactites liang 
over the wall of one of the abutments, pi'o- 
jecting about 7 ft. from the wall and des- 
cending 20 ft. ; producing a very strange 
effect, like a petrified waterfall. 
XANTHUS, Lycia, Asia Minor. 

Harpy Tomb, so-called, a square pier 
16 ft. high, the toji of which was sur- 
routided by the famous frieze, above which 
is a projecting cornice surmounted by a 
square die. The sculptures have been re- 
moved almost in their entirety to the 
British Museum. The frieze consists of 
scenes of adoration and religious ceremo- 
nial, with which are interspersed four 
winged figures with the busts of women 
and the tails and feet of birds, each beai'- 
ing tenderly a small human form. The 
earliest investigators mistook the winged 
figures for Harpies ; they are in fact, no 
doubt, beneficent genii, and the human 
forms which they bear represent souls. 
The sculpture is archaic in style, but has 
much charm. 

Nereid Monume]sj"t, so-called, held to 
be the tomb of a Lycian prince or Persian 
satrap named Pericles, whose ornamental 
features have been transported almost 
entirely to the British Museum. It is a 
double cella with entrances in antis, sur- 
rounded by an Ionic colonnade of four 
columns on the fronts and six on the sides, 
the capitals of which, though much heavier, 
present analogies with those of the Erech- 
theum at Athens. There is no frieze in 
the entablature, the architrave of which 
bears reliefs like that of the temple at 
Assos. The date is later than 370 B.C. The 
chief frieze of the high basement repre- 
sents a combat of horse and foot-soldiers ; 
the second frieze, of oriental character, 
portrays the siege of a town ; the frieze of 
the cella shows banquets and sacrifices ; 
the sculpture of the exterior architrave 
represents hunting-scenes and the offering 
of presents to a satrap. The pediments 
were also filled with sculpture, and the 
aoroteria were small statues. In the in- 



tercolumniations of the peristyle were 
placed the so-called figures of Nei'eids to 
which the monument owes its usual 
name. The style of the sculpture is an 
imitation of the Attic, with manifest signs 
of oriental influences. 

Theatre. The auditorium is in good 
masonry and in very fair preservation, 
though much overgrown with trees. 
Portions of the stage-structure are stand- 
ing to a certain height. The profile of 
the seats displays a curve outward in the 
rise, with a plain square edge above, and 
a dej)ression at the back for the feet of the 
spectators of the tier above. There are 
in the cavea some thrones of honor, with 
backs, and lions' feet in front. 
YAHKLI (Euromus), Caria, Asia Minor. 

Temple, in a recess of the hills about 
eight miles north of Melassa. It is Co- 
rinthian, peripteral, hexastyle, with eleven 
columns on the flanks on a stylobate of 
three steps. The plan measures about 
45 ft. by 95 ft. ; the diameter of the col- 
umns is at the base about 3 ft., at the 
neck 2| ft. ; their height is 27 ft. The 
columns rest on square plinths and have 
on the shafts panels inscribed with the 
names of the donors. Both pronaos and 
opisthodomos had two columns in antis. 
Parts of the cella wall and sixteen col- 
umns, five of them in the rear fa9ade, re- 
main standing, with portions of their en- 
tablature. The columns on the south 
side are not fluted. The workmanship is 
good, though the mouldings are somewhat 
heavy. 
ZAEA, Dalmatia. 

The Campanile is a fine xii cent, 
tower of a type common in Italy. Square 
in plan, it rises straight and unbuttressed 
to the top, and is capped by a low py- 
ramidal roof. The different stories have 
groups of round-arched windows with 
mid-wall shafts, increasing in number 
toward the top stage and set in shallow 
panels between flat pilasters. According 
to an inscription the tower was built in 



544 



ZAEA 



1105, by King Ooloman of Hungary, to 
commemorate his triumphal entry into 
Zara in that year. 

The Oathedbal (Sta. Anastasia), dates 
from the xiii cent., and is one of the best 
examjjles of Dalmatian architecture. It 
is a basilica of unusual proportions, the 
nave being three times as wide as the 
aisles. The interior dimensions are about 
160 ft. by 60 ft. On each side of tlie nave 
are four round arches supjjorted on piers 
alternating with columns, with a single 
bay beyond at each end. Tlie piers have 
engaged shafts with heavy cusliion cap- 
itals, and pilasters facing the nave. The 
columns are of antique marble with de- 
based Corinthian capitals. The piers at 
the entrance of the choir have grouped 
columns with capitals of Corinthian type 
rudely imitated fi'om Roman work. The 
separation between nave and choir has 
been further marked in modern times by 
a stucco arch and other work which con- 
ceals the 2)iers. The round arches of the 
triforium rest on square piers and have 
alternate voussoirs of white and red. Be- 
tween the piers is an arched balustrade ; 
above are clerestory windows. The nave 
ends in a semicircular apse beneath which 
is a spacious crypt. A marble seat for the 
clergy runs round tlie apse, "with a dado 
of red breccia, and the bishop's throne in 
centre. The choir contains a high altar 
surmounted by a rich marble baldacchino, 
square in plan, with pointed arches on col- 
umns of cipollino marble and capitals imi- 
tated from tlie classic. A Lombardic in- 
scription dates it 1332. The elaborately 
carved choir stalls are Venetian Avork of 
the XV century. The exterior of this cathe- 
dral, built of a compact white limestone 
like marble, is the finest in Dalmatia. 
The lower part of the fayade is a plain 
wall pierced by three round-arched doors 
with sculptured tympana and jamb shafts. 
Above these the whole fagade is covered 
witli tiers of arcading which recalls the 
churches of Tisa and Lucca. The lower 



capitals are Eomanesque, while in the 
three upper arcades they are later in char- 
acter and the shafts are coupled. Two 
rose-windows, one over the other and of 
different ages, ornament the fa9ade. The 
north wall has an arcaded gallery. The 
building was probably begun in the early 
part of the xiii cent., on the site of an 
older church. It was consecrated by 
Archbishop Lorenzo Periandro in 1285, 
but tliefa9ade, according to an inscrijition 
on it, was not built until 1321:. On the 
south is the sacristy, an apsidal building 
older than the cathedral, and an old hex- 
agonal baptistery wliicli contains a circular 
chamber with a dome 20 ft. in diameter, 
surrounded by six apses covered by semi- 
domes. 

The Chapter House of Sta. Maria, ad- 
Joining the conventual church, dates from 
the founding of the convent in 1066. It 
is a hall 36 ft. by 18 ft., covei-ed with a 
barrel-vault springing from an enriched 
string - course carried all round, and 
strengthened by four cross-ribs supj)orted 
on vaulting shafts. At the Avest end a 
stairway leads to an uj^per chapel which 
looks into the chapter house through an 
arched Avindow. This chapel has a A^ault 
crossed by diagonal ribs siniuging from 
detached corner columns Avith cushion 
ca2:)itals. 

Porta Marina, or di S. Crisogouo, a 
Roman single arch Avith a Corinthian pi- 
laster on each side upliokling an inscribed 
entablature. It formerly bore statues, but 
these are gone, and a Venetian inscrij^tion 
occupies their place. 

S. Crisogono, a fine Romanesque 
church of the xii to the xa^ century. The 
plan is basilican, with nave, side aisles, and 
three semicircular eastern apses. The 
nave measures 90 ft. by 25 ft., Avith seven 
bays ; the whole Avidth is about 52 ft. 
The pier arches, as in the cathedral, 
spring alternately from grouped piers 
and from columns. Tlie columns are of 
marble Avith early Romanesque capitals. 



646 



ZARA 



^ 



The ceilings are of wood. The exterior 
is better preserved and finer than the 
interior. The main apse is ornament- 
ed by an open gallery whose arches rest 
on slender round columns with cushion 
capitals. The south wall of the church 
has a shallow round-arched arcade with 
coupled spiral columns. All this work is 
undoubtedly of the xii century. The 
central part of the fa9ade, of later date 
and inferior design, belongs probably to 
the XV cent., to which some authorities 
assign the whole building. Across it, 
above the doors, is an arcade of round 
arches upon slender coupled columns, with 
shallow niches behind. The church was 
originally that of an ancient abbey dedi- 
cated to S. Antonio. In 649 it was re- 
dedicated to S. Crisogono. Eebuilt in 986, 
and again by Archbishop Lampridio in 
1175, it was last consecrated in 1407, to 
which time the central part of the front 
probably belongs. 

S. DojSTATo, adjoining the cathedral, 
once the Holy Trinity, is a two-storied 
round church, which dates from the ix 
cent., and is commemorated in the writ- 
ings of Constantine Porphyrogenitus. It 
is of the tjj)G of S. Vitale, at Eavenna, and 
the cathedral of Aix-la-Chapelle, but is 
smaller and inferior, the workmanship 
being very rude. It is interesting from its 
age and history, and as the only impor- 
tant church of its type in Dalmatia. The 
plan is circular, with a surrounding aisle 
and the principal door on the west. On 
the east three round ajoses project, of 
which the middle one is the largest. 
The aisle and apses are two-storied, being 
vaulted — the aisle with an annular vault 
that follows the outside wall. The central 
space or nave is open to the full height of 
the building, and was once covered by a 



dome now fallen. The arcade of eight 
arches has in each story six heavy piers, 
and two columns, taken from old Eoman 
buildings and considerably mishandled, 
the columns being between the apses, 
which are covered by semi-domes. Both 
interior and exterior are extremely plain. 
Constantine speaks of a separate church 
in the second story. It was probably used 
by the catechumens or by the women, and 
was reached by a separate door, now 
blocked iip. A rudely carved hood- 
moulding over the outer doorway of the 
staircase is the only original ornamental 
feature to be seen. In 1877 an excava- 
tion showed that the foundation of the 
church rested on an old Eoman pavement, 
and was entirely composed of the frag- 
ments of Roman buildings, some of which 
were large and richly sculptured. The 
church was probably built by Bishop 
Donatus III., the patron saint of Zara, 
about 810, and originally dedicated to the 
Holy Trinity. In 1798 the Austrians 
turned it into a storehouse and disposed 
of its altars and pictures. It was restored 
to the cathedral authorities in 1870, and is 
now a museum of antiquities. 

S. PiETRO Vecchio, an old stone church 
of unknown date, perhaps before the viii 
cent., which is said to be the oldest in 
Zara. Its plan is unusual, consisting of a 
double nave divided by a round-arched 
central arcade. The east ends of both 
naves are square, but covered by semi-domes 
carried on squinches, a common device in 
Dalmatia. The western end has been de- 
stroyed to make way for the apse of the 
adjoining church of S. Andrea. Each 
nave has four bays with groined vaults of 
poor form and construction. The central 
arcade is made up of Eoman fragments ir- 
regularly put together. 



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